DANCING 


MADE    EASY 


MnMWHMHHMMM 


CHARLES    J,    COLl 


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DANCING  MADE  EASY 


\ 


fDat)c  Ea0i?  Seriea 


DANCING 
MADE    EASY 


BY 

CHARLES  J.  COLL 

AND 

GABRIELLE  ROSIERE 


New  and  Revised  Edition 


NEW  YORK* 
EDWARD  J.  CLODE 


COPYHIGHT    I919,    1922  BY 
EDWARD  J.   CLODE 

Entered  at  Stationers'  Hall 


PSINTEO  IN  TH£  UNITED  STATES  OF  AUEXICA 


Music 
LiLirary 

\ns\ 


FOREWORD 


1459755 


FOREWORD 

It  is  not  the  purpose  of  this  book  to  pro- 
ject any  novel  system  of  teaching  dancing 
or  to  advocate  any  unique  dances.  Rather 
it  is  a  painstaking  effort  to  reduce  to  the 
simplest  possible  terms  an  authoritative 
method  and  to  treat  merely  with  those 
dances  which  have  become  established  and 
standardized. 

Many  dance  publications  were  examined, 

and  while  interesting  in  themselves  appeared 

to  present  a  discouraging  if  not  formidable 

aspect    when    they    moved    to    the    avowed 

intention    to    instruct.     Replete    with    the 

usual  dance  formulas,   a  headachy  rotation 
[II] 


DANCING  MADE  EASY 


of  steps,  such  tanglefoot  would  seem  to 
daunt  the  most  venturesome  of  beginners. 

Through  an  experience  of  thirty  years 
and  more  in  teaching  dancing,  I  have  steadily 
held  that  to  learn  easily  one  must  begin  to 
enjoy  at  once.  So  that  the  novice  will  not 
be  asked  to  plunge  headlong  —  or  feet  fore- 
most—  into  material  that  might  easily  be 
depressive. 

The  diagrams  herewith  have  been  devised 
with  great  care  to  throw  a  more  kindly  light 
on  the  sometime  —  but  not  always  —  intri- 
cate measures  of  the  dance;  to  make,  at  a 
glance,  the  mechanics  as  comprehensive  as 
possible. 

Briefly,  I  propose  to  raise  your  foot  and 

place  it  in  the  correct  rotation  of  the  dance 

♦ 
and  to  the  beat  of  the  music. 

Moreover,  I  will  presupp>ose  you  innocent 


DANCING  MADE  EASY 


of  the  veriest  rudiments  of  dancing,  and  of 
music  too,  and  at  the  risk  of  being  redundant 
win  be  overprecise  in  explanations. 

Do  you  know  what  "tempo"  means,  or  to 
"glide"?  Of  course  I  know  you  may;  but 
I  win  explain  them  carefully  and  make 
sure! 


C133 


CONTENTS 

PAGE 

Intrchjuctory 19 

The  Story  of  Dancing 31 

The  Waltz 55 

Novelties,  Marches,  etc 6§ 

The  Fox  Trot 73 

The  One  Step 87 

Ramble 90 

The  Waltz 97 

The  Paul  Jones 11 1 

Marching 113 

Novelties 139 

The  Canter 163 

The  Schottish  Espagnole 167 

Variations  of  the  Fox  Ttot 173 

The  Pivot 179 

The  Virginia  Reel 185 

The  Octillion 195 

Figures: 

1.  Favor  Figure any  number  dancing. 

2.  The  Cheat i  couple  leading,  5  dancing. 

3.  The  Parasol i  couple. 

4.  The  Fan i  couple. 

5.  The  Mirror i  couple. 


CONTENTS 


6.  The  Baby-doII i  couple  leading,  3  dancing. 

7.  The  Candle i  couple  leading. 

8.  Rounds  of  Three .  . .  i  couple  leading,  3  dancing. 

9.  The  Four-in-Hand . . .  i  couple  leading,  5  dancing. 

10.  The  Serpentine. .  i  couple  leading,  others  dancing. 

1 1 .  The  Flying  Scarfs ...  2  couples  leading,  4  dancing. 

12.  The  Mouse  Trap  . .  2  coup>Ies  leading,  4  dancing. 

13.  The  Windmill 2  couples  leading,  4  dancing. 

14.  The  Butterflies.  3  couples  leading,  others  dancing. 

15.  The  Arbor 3  couples  leading,  6  dancing. 

16.  The  Pyramids 3  couples  leading,  6  dancing. 

17.  The  Zigzags 3  couples  leading,  6  dancing. 

18.  The  Star  and  Circle, 

4  couples  leading,  others  dancing. 

19.  The  Trap 4  couples  dancing. 

20.  The  Ninepins ...  6  couples  leading,  3  extra  men. 

21.  The  Pursuit 6  couples  leading,  4  extra  men. 

22.  The  Grab  Bag. . .  .6  couples  leading,  12  dancing. 

23.  The  Scissors 6  couples  dancing. 

24.  The  Forfeits all  dancing. 

2$.  The  Basket all  dancing. 

26.  The  Cat  and  Mouse .all  dancing. 

27.  The  Promenade all  dancing. 

28.  The  Finale all  dancing. 

An  Entertaining  Evening 231 

Correct  Position  and  Balance 249 

Figures 257 

The  Toddle   261 

The  Camel  Walk 267 

The  Variation  Waltz 273 


INTRODUCTORY 


T)ancing  Made  Easy 

CHAPTER  I 
INTRODUCTORY 

You  must  play. 

It  has  been  said,  and  truly,  that  the  play 
of  childhood  is  the  most  serious  thing  in  the 
world.  It  is  just  as  serious  a  matter  for 
your  own  concern  and  well  being. 

Clean  and  wholesome  play,  temperate, 
healthful  relaxation  is  the  infallible  way  of 
dissolving  the  mental  and  physical  toxins 
generated  by  our  intense  American  way  of 
living  and  working. 

Dancing    is    the    perfectly    natural    and 
soundly  reasonable  way  open  to  your  play. 
C19] 


DANCING  MADE  EASY 


Primarily  we  mcxierns  dance  tx>  enjoy, 
but  we  are  offered  meanwhile  further  ma- 
terial aids. 

No  better  exercise,  nor  one  that  has  such 
direct  appeal  to  the  feminine  temperament 
and  physique,  and  one  that  brings  the  physi- 
cal machinery  into  such  perfect  coordina- 
tion could  be  advised.  And  eminent  physi- 
cians, authoritative  guardians  of  our  health, 
have  so  advised.  They  have  recognized  its 
service  in  unmistakable  terms  and  have  told 
us  many  significant  things  about  its  bene- 
fits; of  its  assistance  by  a  synthesis  of  music 
and  rhythmic  movement  in  the  treatment  of 
neuro-muscular  diseases;  and  of  many  other 
things  of  equal  importance,  the  limits  of 
space  alone  precluding  their  further  exposi- 
tion. But  the  physician  insists  that  there 
are  peculiar  and  profound  reasons  for  pre- 
scribing music  with  exercise. 

In  short,  dancing  when  enjoyed  in  modera- 

[20] 


DANCING  MADE  EASY 


tion  is  a  peerless  tonic,  a  promotion  of  health, 
a  router  of  Melancholia  and  its  attendant 
ills.  The  physician  further  recommends  it 
as  a  beauty  treatment,  since  to  his  keen  eyes 
beauty  means  health. 

Modern  educators,  too,  now  deem  it  a 
fundamental  part  of  our  education.  Court- 
liness, poise,  grace  of  carriage,  are  but  surface 
indications  of  a  blossoming  grace  of  mind. 
Proficiency  in  the  dance  develops  these 
virtues  and  stimulates  the  mental  poise; 
unconsciously  we  are  taught  how  to  walk 
gracefully;  how  to  stand;  how  to  take  our 
own  part  in  self-conscious  moments. 

Dancing  is  a  social  and  cultural  necessity. 
It  promotes  social  morality  and  when 
properly  administered  the  community  is  so- 
cialized, humanized  and  made  to  express  it- 
self spontaneously.  It  is  not  a  prediction  but 
an  actual  fact  that  our  public  schools  arc 
including  dancing  on  the  regular  school  roster. 

[21] 


DANCING  MADE  EASY 


A  belief  is  unfortunately  too  prevalent  that 
gracefulness  is  wholly  due  to  nature,  but  the 
idea  is  as  far  from  the  truth  as  that  expres- 
sion in  music  is  wholly  natural.  In  the 
absence  of  great  gifts,  ordinary  ability  may 
be  much  improved  by  training.  With  chil- 
dren the  effort  to  move  gracefully  produces 
a  desire  to  be  gracious  in  manner,  and  this 
is  one  of  the  best  influences  of  the  dancing 
school.  The  frequently  recurring  circum- 
stances of  their  social  intercourse  impress 
their  mind  practically  with  the  value  and 
beauty  of  politeness.  When  good  motions 
are  established,  children  should  be  allowed 
to  take  lessons  for  a  time  every  year  so  that 
physical  growth  may  not  create  angularity. 

The  dancing  lesson  will  serve  as  a  whole- 
some relief  to  the  activities  of  the  brain  when 
the  child  is  studying  with  the  intensity  neces- 
sary to  acquire  a  modern  education. 

The    manifold    advantages    derived    from 

[22] 


DANCING  MADE  EASY 


dancing  as  an  exercise,  the  great  delight  it 
affords  as  a  recreation,  its  refining  influence 
on  manners,  are  becoming  each  year  more 
fully  recognized.  Parents  should  be  anxious 
to  give  young  people  an  opportunity  to  be- 
come accomplished  in  the  graceful  art. 

It  may  not  be  in  the  province  of  the 
present  volume  to  pass  at  much  length  on 
the  adverse  criticism  of  dancing. 

The  puritan,  the  self-styled  purist,  hath 
ever  railed  at  our  least  departure  from  his 
rigid  laws.  "Dancing  appeals  to  the  senses 
only"  —  he  exhorts  us.  But  then  so  does 
every  art  and  it  is  eminently  proper  that 
they  should.  To  be  aesthetic,  to  love  what 
is  beautiful,  is  to  perceive  through  the  senses, 
and  it  is  a  matter  for  our  moral  consciences 
to  select  or  reject  that  which  goes  to  make 
up  our  philosophy  of  taste,  our  science  of 
things  that  are  beautiful.  And  we  are  sen- 
tient beings  and  should  not  deny  ourselves 
[23] 


DANCING  MADE  EASY 


a  full  portion  of  happiness  whenever  it  offers 
as  moderate  and  as  natural  an  impulse  as 
dancing.  Dancing  is  a  form  of  expression, 
and  an  exquisite  one,  and  is  quite  apart  from 
our  morals. 

"As  a  man  in  his  heart  thinketh,  so  is 
he"  — and  if  there  be  a  latent  grace  the 
dance  visualizes  it;  if  there  be  a  latent 
vulgarity  the  dance  exposes  it.  One  may 
sing  a  hymn  or  fly  a  kite  in  an  uncouth 
manner. 

Manifestly,  in  striving  for  proficiency  in 
the  dance  we  are  moving  toward  higher 
and  finer  ideals;  a  new  life  opens  to  us  and 
a  keen  sense  of  this  truth  should  be  in  every 
dancer's  heart. 

While  it  is  true  that  the  dances  of  a  short 
while  ago  were  heaped  with  abuse,  such 
abuse  was  deserved  and  those  who  held 
sacred  the  canons  of  propriety  in  the  dance 
were  most  lavish   in   that   abuse.     It  were 

[24] 


DANCING  MADE  EASY 


well;  dancing  had  fallen  upon  decadent 
days,  and  the  moderate  saw  what  had  been 
their  recreation  swept  away  and  a  dissipa- 
tion take  its  place.  Followed  an  orgy  of 
perversion,  designedly  so  by  instructor  and 
dancer  alike.  Flagrant  excesses  made  a  wan- 
ton of  the  dance  and  the  night  was  made 
hideous  indeed. 

All  barriers  were  beaten  down  and  the 
zoological  packs  were  upon  us:  Turkey  Trot, 
Bunny  Hug,  Grizzly  Bear.  Undisciplined  and 
in  some  measure  even  vicious,  many  of  the 
dances,  or  wriggles  or  contortions  as  they 
should  be  called,  that  followed  in  the  van  of 
these,  well  deserved  the  censure  of  all  good 
p)eopIe. 

A  hysterical  time  in  which  the  vogue 
seemed  to  change  over  night;  and  inciden- 
tally a  golden  harvest  time  for  the  un- 
scrupulous instructor. 

But  presently  saner  days  came  to  us  and 
Z232 


DANCING  MADE  EASY 


through  this  acrobatic  bedlam  came  the 
Tango,  the  Hesitation,  and  other  good  in- 
fluences to  chasten  and  redeem.  And  this 
process  of  reform  formulated  and  established 
what  we  accept  as  the  Modern  Dances, 


[263 


DANCING  MADE  EASY 


L27I 


THE  STORY  OF  DANCING 


CHAPTER  II 
THE  STORY  OF  DANCING 

When  that  promised  and  happy  mo- 
ment comes,  when  you  put  your  best  foot 
forward  to  the  measures  of  the  dance,  you 
will  be  doing  so  in  a  stately  company. 

Down  through  the  mist  of  ages  the  art  of 
dancing  comes  weaving  its  graceful  way  to 
us,  its  cadence  burdened  with  race-old  emo- 
tions, now  pagan,  now  religious,  romantic, 
tribal,  martial.  For  it  is  an  art  that  has 
touched  life  at  many  points.  In  song,  in 
story,  in  Holy  Writ  you  will  find  it;  you 
may  find  it  between  the  lines  of  a  doctor's 
prescription. 

The  story  of  dancing  really  begins  for  us  in 
the  gold  and  ivory  days  of  Ancient  Greece 
—  the  golden  age  of  dancing. 
[31] 


DANCING  MADE  EASY 


It  is  not  a  far  cry  to  say  that  the  Greeks 
have  dictated,  with  ahnost  supreme  author- 
ity, the  elements  of  logic  and  a  large  measure 
of  the  thought-matter  of  every  subsequent 
age  and  great  race  of  men.  To  the  end  of 
time  Ancient  Greece  will  ever  be  a  force  in 
our  intellectual  life;  her  culture,  with  magical 
fingers,  has  woven  her  ineffaceable  appeals 
into  the  very  fiber  of  our  mind  and  being. 
Since  it  is  universal,  her  art  is  the  greatest 
of  arts;  it  is  understood  and  accepted 
without  the  shadow  of  controversy  by  all 
people. 

The  Greek  is  the  genius  of  the  beautiful. 
He  conceives  and  qualifies  the  ideality  of 
man  and  nature  with  a  marvelous  vividness, 
and  his  inspiration  begins  and  ends  in  the 
enthusiasm  and  love  of  movement  in  the  living 
form.  A  thought  of  Greece  is  a  thought  of 
the  epics  of  life,  motion,  and  rhythm. 

It  is  this  movement  that  he  lived,  he  knew, 
[32] 


DANCING  MADE  EASY 


he  felt,  that  he  has  idealized  and  made 
sacred  to  himself  and  to  us.  It  is  his  religion, 
whose  inner  concept  flashes  forth  with  un- 
surpassed form  in  everything  he  has  left  to 
posterity.  In  all  his  arts  he  makes  us  con- 
scious of  this  love  of  movement  and  rhythm. 
We  feel  it  in  the  graceful  lines  of  a  vase,  it  is 
the  motif  of  the  designed  figures  thereon; 
we  see  it  in  the  poise  of  his  sculpture;  we  hear 
it  in  the  paeans  to  the  Gods  and  heroes  —  al- 
ways life  and  motion;  the  instinctive  ex- 
clamation of  feeling  made  graphic;  a  gesture 
that  becomes  prose. 

To  his  philosophy  it  seemed  imperative 
that  he  strive  to  attain  perfection  in  his  own 
body,  as  well  as  in  his  arts;  for  the  young 
man  to  be  proficient  in  his  sports  was  not 
enough,  he  must  strive  to  attain  the  ideal 
that  his  mind  beholds,  and  throughout  his 
labors  and  diversions  this  idea  is  in  the 
ascendant. 

Znl 


DANCING  MADE  EASY 


The  Greek  gymnasia,  of  which  there  were 
many,  advocated  the  scientific  exertions  of 
the  body,  and  these  exertions  were  rarely, 
if  ever,  artificial.  The  dance  was  in  great 
favor  with  them,  as  it  offered  so  much  to  their 
temperament  and  purpose,  and  it  became 
one  of  the  essential  courses  of  training. 

In  prehistoric  days  dancing  had  been  merely 
emotional,  but  now  it  embodied  a  purpose; 
it  was  made  to  represent  an  idea — an  idea  to 
incite  love  or  hatred,  to  arouse  warlike  in- 
stincts and  give  actual  training  for  war;  to 
express  homage,  worship,  religion.  It  began 
in  play  and  ended  in  discipline. 

Later  on  pantomime  was  invented,  but  it 
was  never  so  much  an  advanced  art  with  the 
Greeks  as  with  the  Romans. 

The  Greeks  ranked  the  dance  with  music 

and  poetry ;  as  a  Greek  expression  has  it,  music 

and   dancing   were   "the   married    pair*'  —  a 

happily  married  pair  evidently —  for  the  Greeks 

[34] 


DANCING  MADE  EASY 


were  a  cheerful  people,  whose  sense  of  dignity 
was  not  disturbed  with  their  dancing,  as  it 
was,  for  example,  in  the  case  of  the  Romans 
and  Orientals,  who  bade  their  hired  slaves 
do  their  dancing  for  them  —  and  as  long  as 
their  morality  remained  unshaken  their  dances 
retained  their  purity. 

From  Greek  sculpture  we  get  most  of  the 
history  of  the  Greek  dances.  The  Bracelet, 
The  Bacchanalia,  The  Hymenaea,  The  Labyrinth, 
The  Pyrrhic,  these  are  but  a  few  of  the  many. 

The  Pyrrhic  dance  shows,  in  an  excellent 
way,  the  twofold  purp>ose  of  the  Greeks.  It 
was  a  warlike  dance,  which  consisted  chiefly 
in  such  adroit  and  supple  turning  of  the  body 
as  represented  an  attempt  to  avoid  the  strokes 
of  a  foe  in  battle,  and  the  motions  gone  through 
were  considered  a  form  of  training  for  war. 

It  is  an  amazing  thing  to  find  how  little  the 
Greeks  achieved  in  the  musical  arts.  They 
seemed  content  with  a  paucity  of  musical 
[35] 


DANCING  MADE  EASY 


notes,  —  some  four  in  number,  —  a  rather 
feeble  vehicle  it  seems  for  those  who  applied 
the  principle  of  voluntary  rhythmic  motion. 

As  far  as  we  may  go  into  antiquity,  every 
dance,  whether  belonging  to  civilized  or 
savage  nations,  was  accompanied  by  some 
music  or  rhythm  of  a  sort,  even  though  it 
was  but  the  beating  of  a  drum,  the  clacking 
of  shells,  or  the  clapping  of  hands. 

At  the  very  earliest  times,  people  seemed 
to  have  chanted  and  danced  at  the  one  time; 
afterward  the  custom  was  for  some  to  dance 
while  others  sang,  until  eventually  the  inven- 
tion of  musical  instruments  took  the  place  of 
the  voice  and  musical  accompaniment  became 
an  established  thing. 

It  is  only  possible  to  list  the  dances  of 
savage  people  in  a  general  way.  As  in  all 
folk  dancing  the  social,  warlike,  and  religious 
order  obtains,  and  whatever  differences  appear 
seem  to  arise  from  a  mere  local  significance 
C36] 


DANCING  MADE  EASY 


—  each  locality  insisting  on  interpreting  it- 
self. 

But  they  all  have  a  patent  characteristic, 
that  is  the  exacting  nature  of  the  performance 
and  the  absolute  seriousness  with  which  they 
go  about  their  dancing.  They  make  it  a 
mighty  serious  business;  the  order  of  their 
dance  is  inviolable  and  it  is  usually  a  grave 
matter  to  make  a  mistake.  Indeed  among 
many  tribes  such  offense  would  be  punishable 
by  death. 

In  all  eastern  countries,  where  the  temp)era- 
ment  app>ears  phlegmatic,  the  dance  is  really 
a  pantomime,  a  series  of  racial  gestures,  ex- 
aggerated postures,  and  weird  mimicries. 
However,  not  infrequently  we  see  some 
danseuse,  having  heard  and  heeded  the  call 
of  the  East,  reviving  the  spirit  of  the  exotic 
dances,  with  sometimes  a  reminiscence  of 
the  Bayaderes  of  India,  or  the  HuIIas  of  the 
Sandwich  Isles,  or  the  Geishas  of  Japan. 
[37] 


DANCING  MADE  EASY 


•  The  Renaissance  saw  the  revival  of  danc- 
ing as  an  art,  as  it  beheld  the  awakening  of  so 
many  other  arts.  Catherine  de'  Medici,  bring- 
ing the  dance  from  Italy,  introduced  it  in 
France  sometime  in  the  fifteenth  century. 
And  it  is  interesting  to  note  that  since  that 
time  France  has  been  preeminent  in  the 
refinements  of  the  dance  and  the  quality  of 
their  performers.  She  has  adopted  many 
alien  dances  and  each  and  all  show  her  benign 
influence;  each  has  been  immeasurably  in- 
creased in  value.  Of  all  nations  the  modern 
dance  owes  most  to  France. 

History  tells  us  of  the  gorgeous  court 
spectacles  and  ballets  given  by  the  resplen- 
dent Richelieu  to  Louis  XIII  —  himself  a 
kingly  enthusiast  who  founded  the  Academy 
of  the  Dance. 

These  court  dances  gave  to  the  world  some 
of  its  most  magnificent  musical  composi- 
tions.    In  fact  the  assemblies  were  often  held 

C38] 


DANCING  MADE  EASY 


for  the  music  alone  —  were  essentially  musi- 
cales.  And  to  this  custom  we  owe  the  musical 
suites  of  Bach,  Handel,  and  Corelli. 

Our  extremely  elaborate  Cotillion  is  merely 
a  development  of  the  antique  French  Cotil- 
loriy  in  vogue  during  the  reign  of  Charles  X. 

Then  there  was  the  German  Galop,  modified 
and  refined  by  the  French,  but  the  Quadrille 
is  probably  the  oldest  of  our  modern  and 
popular  dances.  There  seems  to  have  been 
an  analogy  of  it  in  England  as  early  as  Wil- 
liam the  Conqueror.  At  that  time  it  was 
supposed  to  have  some  significance  in  con- 
nection with  a  game  of  cards  then  in 
vogue. 

We  hear  of  the  waltz  as  early  as  1795  and 
the  landers  and  polka  and  scbottische  following 
in  a  half  century. 

The   waltz  was   danced  by  Henry  HI  of 
France  as  the  volte  but  it  failed  of  popularity 
until  the  nineteenth  century. 
C39] 


DANCING  MADE  EASY 


It  is  difficult  to  determine  the  accuracy  of 
its  origin;  it  is  variously  claimed  as  of  French, 
Italian,  and  Bavarian  source;  but  since  it  is 
unquestionably  a  development  of  the  French 
volte  its  origin  seems  self-evident. 

The  two-step  was  an  all-American  produc- 
tion and  was  introduced  in  the  writer's  recol- 
lection, say,  about  1890. 

No  history  of  modern  dancing  would  be 
complete  without  an  honorable  mention,  at 
least,  of  those  peerless  artists  of  our  day  who 
strove  so  earnestly  and  so  successfully  to 
revive  the  almost  forgotten  traditions  of 
classic  dancing,  and  memory  will  long  cherish 
such  names  as  Isadore  Duncan,  Maud  Alan, 
Adeline  Genee,  Ruth  St.  Denis  —  and  the 
wonderful  Pavlowa,  of  the  Russian  Imperial 
School  of  Dancing,  whose  organization  did 
so  much  to  revolutionize  and  uplift  the  his- 
trionic stage. 

Among  the  first  manifestations  of  ragtime 
[40] 


DANCING  MADE  EASY 


music  and  ragtime  dancing,  sometimes  called 
the  "negroid  dances,'*  was  the  Turkey  Trot. 
The  Mrs.  Grundies  opened  their  eyes  in 
wonder,  but  since  the  wonder  was  only  of  the 
nine  day  variety,  the  Mrs.  Grundies  tarried  — 
and  joined  in.  It  was  the  "something  differ- 
ent" that  hits  the  pulse  of  popularity;  it 
was  the  something  the  people  had  wanted  and 
it  gave  them  an  outlet  to  that  abandon  that 
had  been  pent  up  so  long. 

But  even  with  this  new  promise  of  allure- 
ments the  people  had  a  peculiar  appetite  and 
one  that  was  difficult  to  satisfy.  Dancing 
connoisseurs  busied  themselves  to  cater  to 
it,  and  as  a  consequence  the  whole  world 
seemed  to  be  combed  for  what  it  had  to  offer 
in  the  way  of  diversions.  "Something  to 
startle,"  seemed  to  be  the  way  the  order  was 
interpreted  —  "and  different";  it  must  be 
different.  With  the  Turkey  Trot  opening  a 
way  it  behooved  these  arbiters  to  follow  such 
[41] 


DANCING  MADE  EASY 


a  successful  lead,  and  they  did  according  to 
their  lights,  but  like  the  Foolish  Virgins,  they 
waited  not  to  trim  their  lamps. 

The  Argentine  was  pirated,  and  the  im- 
portation satisfied  for  a  time.  Then  the 
Apache  dance,  a  primitive  affair,  lifted  bodily 
from  the  elemental  people  of  the  Paris  un- 
derworld. Then  on  to  Brazil,  where  the 
product  proved  to  be  a  distinct  improvement, 
marking  about  the  best  of  these  days.  The 
Brazilian  Maxixe  was  appropriated  and  for 
quite  a  while,  it  was  considered  a  fashion- 
able virtue  to  know  it.  It  has  gone  now, 
but  it  may  be  that  sometime  again  we  may 
have  a  reminiscence  of  it,  a  revival  of  a  past. 
Dances  are  like  this,  they  seem  to  live  over 
again,  or  at  least  part  of  them,  and  many 
things  about  the  Brazilian  Maxixe  deserve 
salvage. 

It  was  about  this  period  that  Father  and 

Mother  began  to  take  notice,  for  dancing  had 

[42] 


DANCING  MADE  EASY 


now  become  a  diversion  for  all  ages,  the  young, 
the  not-so-young,  the  old. 

The  writer  recalls  many  amusing  instances 
of  these  days  and  they  seem  to  be  of  the  one 
character,  arising  in  most  cases  from  confu- 
sion in  teaching.  Instructors,  catching  the 
infection  of  abandon,  no  doubt,  exhibited  a 
charming  freedom  in  compiling  the  figures  of 
the  dances.  For  instance:  The  Tired  Busi- 
ness Man  "to  put  something  over"  on  his 
wife  would  put  himself  under  the  direction  of 
some  recommended  teacher  and  so  get  in 
step  with  the  times  and  incidentally  learn  the 
new  fandangoes.  And  the  wife,  in  turn,  not 
being  overly  communicative  with  the  hus- 
band would  meanwhile  drop  in  on  her  favorite 
teacher,  with  the  same  idea  in  mind.  Their 
enjoyment  of  this  seemed  to  be  entirely  in 
anticipating  one  another.  When  they  es- 
sayed to  dance  together  at  the  The  Dansant, 
or  dinner  dance  to  their  mutual  amazement 
[43] 


DANCING  MADE  EASY 


they  found  they  had  been  instructed  differ- 
ently. Their  chagrin  and  other  feelings  may 
be  appreciated. 

Another  case  that  was  a  contributing  cause 
to  the  confusion:  after  several  attempts  to 
dance  with  his  partner,  a  young  man  was 
observed  to  lead  the  young  lady  over  to  the 
corner  of  the  studio  and  endeavor  with  great 
earnestness  to  teach  her  the  figure  he  knew. 
[  The  young  lady  attended  patiently  while 
he  achieved  this  most  desirable  thing  to  his 
satisfaction,  and  then  felt  it  should  be  her  turn 
as  instructor,  and  she  forthwith  started  to 
teach  a  figure  that  she  saw  Mrs.  Vernon  Castle 
do. 

The  dancers  themselves  realized  this  con- 
dition of  affairs;  they  knew  they  were  at  a 
veritable  Tower  of  Babel;  where  to  the  con- 
fusion of  tongues  was  added  the  mixing  of 
feet. 

The  dancing  teachers  tried  to  legislate 
[44] 


DANCING  MADE  EASY 


among  their  various  organizations  to  alleviate 
this  condition  by  standardizing  the  dances, 
but  without  avail;  the  dawn  of  understanding 
and  concord  had  not  come,  and,  like  every 
fad  and  fancy,  these  dances  were  destined  to 
run  their  courses  and  so  remained  in  favor 
for,  comparatively,  a  long  time. 

But  no  history  of  these  dances  would  be 
complete  without  a  hearty  acknowledgment 
of  the  stimulating  influence  they  had  on 
dancing  in  general.  They  brought  dancing 
back  to  its  place  as  an  indubitable  accom- 
plishment and  to  an  extreme  in  which  the 
world  seemed  dancing  mad.  The  whist  clubs, 
the  sewing  circles,  the  gentlemen's  clubs, 
were  vacant  but  for  their  stewards,  and  even 
these  wore  the  well-known  preoccupied  air. 
The  dancing  germ  had  infected  generally; 
it  had  become  epidemic. 

The  Tango  and  Maxixe  and  other  dances 
have  succumbed  to  the  antidote  of  the  more 
[45] 


DANCING  MADE  EASY 


sensible  and  easier  taught  dance,  the  Fox 
Trot. 

While  I  have  heard  many  versions  of  its 
origin,  have  listened  to  many  of  its  self-styled 
originators,  I  have  credited  Captain  Vernon 
Castle  as  its  originator  and  preceptor.  The 
story  has  it  that  on  one  of  his  quests  for  in- 
novations his  attention  was  called  to  a  cer- 
tain exclusive  colored  club.  At  the  time  he 
attended,  the  members  were  dancing  the  Fox 
Trot,  even  at  that  time  so-called,  and  he  be- 
came enthusiastic  over  it  and  determined  to 
bring  it  out  for  a  little  fun  for  a  few,  hardly 
realizing  that  the  dance  was  to  win  for  itself 
a  high  place  in  the  favor  of  the  many. 

But  this  fox  that  Mr.  Castle  cornered 
was  a  mighty  wild  one  indeed.  The  writer 
confesses  to  being  one  who  predicted  its 
early  demise.  It  was  one  continuous  romp 
from  beginning  to  end  and  he  felt  that  it 
would  hardly  survive  a  hard  summer  and  be 
[46] 


DANCING  MADE  EASY 


with  us  when  he  returned  to  his  classes  in 
the  fall.  One  never  can  tell;  it  did,  it  was,  it 
will  be! 

To  the  Philadelphia  dancing  teachers,  I  be- 
lieve, should  go  the  credit  of  taming  reynard 
and  breaking  him  to  the  ways  of  polite  people. 

When  the  fox  was  running  at  large,  the 
musician  did  not  have  music  for  him,  so  they 
played  some  of  the  old  numbers  Hke  "Danc- 
ing in  the  Barn"  and  such,  and  now,  to-day, 
there  is  more  fox  trot  music,  than  any  other 
to  serve  its  insatiable  demands. 

Watching  the  turn  of  current  events,  danc- 
ing does  not  change  with  the  seasons,  as,  for 
instance,  the  fashion  in  clothes.  When  the 
studios  open  in  the  fall  the  devotees  of  the 
dance  rather  expect  to  see  some  change  in 
the  established  order. 

There  was  never  anything  to  refute  this  idea 
more  decisively  than  the  Fox  Trot.  It  came 
in  the  off-season  and  at  a  time  when  least 
[47] 


DANCING  MADE  EASY 


expected;  in  fact  before  any  music  had  been 
prepared  for  it.  But  the  music  writers  were 
alert  and  soon  got  busy,  with  the  result  that 
the  best  of  music  was  provided  and  the  Fox 
trot  took  everything  before  it.  In  fact  the 
dancers  were  disf)osed  to  dance  it  all  the 
while. 

Things  began  to  move  quickly.  Along 
came  another  change  in  the  way  of  music, 
"the  jazz,"  and  from  our  orchestras  issued  a 
pandemonium  of  noises;  a  complete  din  of 
sounds.  But  it  appeared  to  be  agreeable 
to  the  vein  the  people  were  in;  the  dancers 
adopted  it  at  once;  they  wanted  to  "jazz" 
their  steps  which  immediately  gave  the  danc- 
ing a  change  in  character,  of  course,  so  that 
the  dance  is  as  distorted  as  the  music.  They 
insisted  on  the  "jazzy"  music  because  it  had 
the  "pep."  Throughout  the  strains  of  the 
jazz  music  flow  the  "blue"  notes  that  in- 
stantly caught  the  whim  of  popularity. 
C48] 


DANCING  MADE  EASY 


The  people  who  like  dancing  will  have  quite 
a  time  to  repair  the  ravages  on  their  traditions 
made  by  the  raids  of  the  Turkey  Trot,  Bunny 
Hug,  Texas  Tonmiy,  Gaby  Glide,  and  all 
those  other  fearsome  things. 

Regarding  the  one-step.  You  may  rest  as- 
sured that  the  one-step  will  long  be  a  favor- 
ite because  it  is  practical,  just  as  the  waltz 
is  practical.  In  the  waltz  you  take  one,  two, 
three  steps  each  way;  in  the  two-step  you 
take  two  and  in  the  one-step,  one,  just  as 
their  names  imply.  That  is  the  time  or 
tempo,  and  the  thing  that  makes  dancing 
is  tempo. 

There  are  many  theories  as  from  whence 
the  one-step  came;  some  contend  it  hails 
from  the  Barbary  Coast,  but  others  believe 
it  to  have  been  mothered  by  the  Turkey 
Trot  and  argue  that  claim.  Its  derivation 
aside,  it  is  a  great  dance,  if  you  care  to  make 
it  so,  and  we  should  be  truly  grateful  to  it, 
C49] 


DANCING  MADE  EASY 


for  it  has,  more  than  any  other  one  thing,  done 
more  to  break  down  the  barrier  of  that 
mother-at-home-and-father-at-the-club  condi- 
tion. It  opened  a  new  world  to  them  and 
they  entered  it  together.  They  realized  at 
once  how  easy  this  dance  was  to  learn  and 
how  worth  while  its  benefits  were.  Husband 
and  wife  became  better  acquainted  at  last 
and  life  seems  real  and  full  of  charm. 

The  man,  and  the  woman  too,  of  too  gener- 
ous girth  frequented  the  Turkish  bath  and 
masseur  no  more;  the  ideal  reducer  was  at 
hand. 

In  one  particular  case  I  have  in  mind  the 
wife  of  a  prominent  lawyer,  who  took  lessons 
from  me.  She  weighed  220  pounds  at  the  time 
and  began  at  a  summer  resort  where  I  hap- 
pened to  be.  She  took  a  half-hour  lesson 
each  day,  and,  because  she  liked  it,  danced 
in  the  evening.  On  her  return  home,  in  the 
fall,  she  turned  her  card  party  into  a  dancing 
[50] 


DANCING  MADE  EASY 


class,  and  in  a  short  while  she  had  reduced 
to  one  hundred  and  sixty-five,  and  better  yet, 
she  was  in  the  very  best  health  imaginable. 
Think  of  that!  I  vouch  for  this  case;  I 
could  vouch  for  a  countless  number  of  other 
cases  of  similar  import,  but  since  this  is  not 
a  patent  medicine  series  I  will  withhold  the 
testimonials. 


t3i3 


THE  WALTZ 


THE  WALTZ 

Why  give  up  all  of  the  steps  that  our  parents 
and  grandparents  practiced;  why  not  bring 
them  along  with  us  and  make  them  up-to- 
date?  Since  we  are  usually  delving  into  the 
past  for  other  things,  as  for  fashions,  for  in- 
stance, why  not  have  the  waltz  back  with 
us  again?  Well,  the  old  waltz  has  come 
back  to  us  again,  but  is  somewhat  different. 
In  the  old-school  waltz  you  were  turning  all 
the  time  and  had  a  hopping,  springy  step. 
Not  so  with  the  waltz  of  to-day,  for  it  is  now 
danced  with  a  glide  and  the  glide  is  used  in 
the  fullest  meaning  of  that  term;  a  smooth, 
easy,  sHding  step. 

If  you  have  ever  danced  the  polka  three- 
step  you  will  readily  see  the  difference  be- 
tween the  old  school  waltz  and  the  waltz  of 
L55l 


DANaNG  MADE  EASY 


present  vogue;  though  the  dances  of  a  few 
years  ago  are  much  the  same  to-day. 

Should  you  attend  an  assembly,  you  would 
see,  as  you  saw  some  time  ago,  everybody 
rotating,  and  if  you  had  not  been  to 
a  dance  for  some  time  you  would  surely 
exclaim,  "Why,  that  is  the  old  waltz!" 
—  but  wait,  analyze  it  and  you  find  the  old 
elements  there,  it's  true,  but  you  will  find,  too, 
something  else  that  makes  it  more  fascinating 
than  when  you  knew  it;  it  is  that  change  of 
pace  that  is  so  restful,  compared  with  the  old 
dance. 

For  example:  a  lady  having  a  thought 
that  she  would  like  to  try  the  old  waltz  sug- 
gested, as  a  waltz  was  being  played  at  the 
time,  that  we  dance  it  in  the  old-school  way. 
She  had  insisted  that  there  would  never  be 
anything  quite  so  good  —  nothing  would  ever 
take  its  place  in  her  favor.  But  her  reasons 
were,  I  think,  mostly  sentimental  ones;   we 


DANCING  MADE  EASY 


had  danced  but  a  few  strains  when  she  begged 
me  to  stop  and  take  her  back  to  the  new  way 
again.  **The  old  way  tires  me  too  much," 
she  said.  The  waltz  has  undergone  many 
changes  in  the  last  decade.  When  grand- 
mother danced,  it  was  one  continual  pivot, 
turning  one  way  for  several  strains,  how  long 
depending  on  the  endurance  of  the  dancers. 
They  would  pivot  around  to  the  right  until 
they  became  abnost  dizzy  and  then  reverse 
to  the  left;  —  sort  of  unwind  themselves  to 
reheve  the  dizziness.  Now  the  dancers  in 
those  days  were  measured  by  the  steadiness 
of  their  movements.  "He  could  dance  with 
a  glass  of  water  on  his  head,"  was  an  expres- 
sion that  was  used  as  a  term  of  praise. 

The  waltz  with  the  hop  was  the  vogue  for 
a  considerable  time,  until  along  in  the  early 
seventies  the  glide  waltz  took  its  place  and 
held  the  pahn  until  the  advent  of  the  Hesita- 
tion Waltz. 

L57I 


DANCING  MADE  EASY 


Once  again  our  parents  and  grandparents 
felt  their  youth  returning.  The  dance  was 
no  longer  exclusively  the  dance  for  the 
younger  people.  At  any  large  assembly 
one  might  see  the  three  generations  —  and, 
with  the  change  in  fashions,  it  was  some- 
times difficult  to  distinguish  mother  and 
daughter. 

It  is  to  be  regretted  that  the  Hesitation 
did  not  have  a  longer  reign,  but  its  shortness 
of  life  may  readily  be  accounted  for  by  the 
manner  in  which  it  was  corrupted,  twisted, 
and  turned  so  that  one  had  to  be  an  acrobat, 
in  order  to  dance  it.  With  its  butterfly, 
grapevine,  scissors,  back-breaking  and  almost 
leg-breaking  contortions,  it  eventually  be- 
came impossible  to  dance  it  with  anyone 
unless  you  and  your  partner  had  been  pre- 
viously trained  together;  so  it  was  impossible 
to  mix  the  dancers  with  different  partners. 

But  the  people  had  an  ardent  love  for  the 
[58] 


DANCING  MADE  EASY 


figures  and  wanted  a  change  every  day,  and 
consequently  things  got  out  of  hand  and 
very  bad  indeed,  until  at  last  one  had  to  be 
constantly  under  instruction;  the  condition 
was  tiresome  and  costly  and  became  impos- 
sible and  the  Hesitation  was  thrown  in  the 
discard.  And  it  seemed  that  as  the  dancers 
lost  interest  and  drifted  away  dancing  seemed 
to  stagnate.  But  it  was  only  for  a  time;  the 
dancers  were  really  resting  after  a  surfeit 
of  leaps  and  bounds;  they  would  respond 
again  when  the  dances  had  been  modified  to 
a  point  for  common  sense  indulgence.  And 
we  are  happy  to  know  that  it  has  now  reached 
that  happy  point. 

The  waltz  to-day  is  in  the  same  condition 
as  the  old  school  dances  were  before  the  new 
dance  came  out.  A  person  may  now  go  to 
any  dance  anywhere,  and  enjoy  it  with  any 
partner. 

The  lessons  contained  in  this  volume  cov- 
L$9l 


DANCING  MADE  EASY 


ering  the  Fox  Trot,  One-step  and  Canter  Waltz 
show,  as  I  deem  it,  the  easiest  as  well  as  the 
most  practical  method  for  dancing  these 
three  dances,  and  that  means  all  that  is  neces- 
sary for  the  acquiring  of  the  present-day 
dances,  as  the  life  of  these  dances  has  just 
begun  and  is  going  to  be  long  Hved.  After  a 
true  analysis  you  will  find  these  dances  are 
composed  of  but  walking  and  gliding  steps, 
and  as  you  become  familiar  with  them,  and 
your  self-reliance  grows,  you  may  take  liberties 
with  them;  in  other  words,  you  may  use  your 
own  variations  whenever  you  like  and  as 
often  as  you  like  —  there  is  no  set  rule;  you 
may  change  them  at  times  to  please  yourself; 
for  after  all  you  have  been  but  walking  and 
gliding.  So  while  dancing  around  you  may 
eventually  give  way  to  the  exact  number  of 
walking  steps,  and  perhaps,  having  a  tete-a- 
tete  with  your  partner,  you  may  overstep 
that  certain  number;    but  in  doing  this  do 

[60] 


DANCING  MADE  EASY 


not  worry  —  you  are  not  breaking  any  laws 
either  national,  local,  or  social. 

But  never  forget  your  poise;  always  be 
the  master  of  that  —  and  keep  perfect  time 
because  therein  lies  the  very  real  charm  of 
dancing. 


[61] 


V  NOVELTIES 


/ 


NOVELTIES,   MARCHES,   ETC 

In  selecting  the  dances,  marches,  and  novel- 
ties used  in  this  books  I  have  chosen  those 
combinations  that  are  the  most  practical 
and  if  followed  with  the  descriptions,  figures, 
and  diagrams  will  mean,  as  we  know  from 
a  commercial  standpoint,  the  saving  of  time 
and  much  money. 

The  lessons  in  marching,  etc.,  are  compre- 
hensive and  best  of  all  they  are  in  vogue 
to-day. 

In  conclusion  the  author  does  not  profess 
to  know  everything.  Even  after  thirty-two 
years*  experience  as  a  teacher  and  having  in 
that  time  taught  thousands  upon  thousands 
of  people,  from  the  age  of  three  to  three-score, 
feels  that  there  never  has  been,  never  will  be 
C65] 


DANCING  MADE  EASY 


a  time  when  he  could  not  learn  something 
about  dancing. 

I  have  endeavored  to  make  my  diagrams 
and  lessons  as  clear  as  possible.  How  far 
I  have  succeeded  remains  with  you  —  will 
be  determined  both  by  the  quality  and  quan- 
tity of  knowledge  I  have  imparted  to  you. 
Yet  I  realize  that  a  description  I  have  written 
and  easily  decipherable  to  me  may  prove 
difficult  of  solution  to  another.  If  you,  for 
instance,  would  devote  a  short  while  describ- 
ing some  simple  movement,  you  may  be  sur- 
prised to  find  how  difficult  it  is  and  how  many 
people  find  the  description,  so  intelligible  to 
you,  complex  and  involved  to  them. 

In  this  book  I  have  considered  the  novice 
in  the  A.  B.  C.*s  of  dancing  and  have  en- 
deavored to  take  him  to  post-graduate  honors 
and  I  do  feel  that  if  conscientious  treatment 
and  patience  be  accorded  the  lessons,  he  has 

achieved  the  purpose  of  writing  —  given  him- 

[66] 


DANCING  MADE  EASY 


self  the  gratifying  feeling  of  having  made  a 
new  friend,  and,  even  without  personal  con- 
tact, has  taught  him  to  enjoy  the  dance. 

While  in  the  days  of  old  the  dance  was 
for  the  few,  the  modern  dance  is  no  longer 
the  concern  of  the  individual  alone  but  the 
concern  of  every  one  and  the  old  as  well  as 
the  young.  It  is  our  popular  ritual  for  self- 
expressing  our  joy  and  exultation  —  the  one 
great  form  of  pleasure  that  keeps  us  attuned 
with  life  as  it  is  sensed  about  us. 

And  the  modern  dances  are  the  most  easily 
achieved  —  some  absurdly  simple.  It  was 
not  so  in  Mother's  time  —  for  the  steps 
she  watched  were  many  and  varied.  With 
her  usual  quiet  fortitude  she  prevailed  over 
a  most  difficult  and  intricate  order  of  things 
—  and  with  an  application  that  might,  in 
these  days,  be  considered  a  mental  strain. 

She  danced  a  "square  dance"  and  a 
C67] 


DANCING  MADE  EASY 


"round  dance"  and  each  was  composed  of 
a  bewildering  number  of  movements  and 
combinations. 

A  glance  at  her  programme.    The  highly 
ornamental  pencil  has  checked  ofif: 

Waltz. 

Plain  Quadrille. 

Polka. 

Lanciers. 

Schottische. 

Polka  Quadrille. 

Redowa. 

Schottische. 

Mazurka. 

Waltz. 

Medley  Quadrille. 
Varsovienne. 

Parisian  Varieties  Quadrille. 
Racket. 

Lincoln  Heel  and  Toe  Polka. 
Tally  Ho  Quadrille. 
Waltz,  Finale. 
[68] 


DANCING  MADE  EASY 


And  on  the  alluring  strains  of  Strauss  she 
would  win  through  this  fantasy  of  mathe- 
matics with  a  triumph  radiant  and  assured. 
To  be  Belle  of  the  Ball  was  to  be  sovereign; 
and  she  judged  and  was  judged  by  her  knowl- 
edge of  the  dance. 

Of  course  her  sedate  day  met  changes  too. 
First  came  the  two-step.  Musicians,  at  first 
at  a  loss  for  its  tempo,  or  time,  decided  to 
play  it  very  fast.  It  was  new  and  different 
and  lively,  was  accepted,  and  with  the 
waltz  was  in  popular  favor  for  thirty  years. 

Then,  as  dances  will,  they  started  to  run 
down  at  the  heel.  To  the  younger  genera- 
tion they  seemed  out  of  step  with  the  times 
and  to  have  no  special  intention.  Indeed 
dancing  had  become  mechanical,  stagnated. 

Ragtime  music  brought  the  reaction.     The 

Apache,  the  Texas  Tommy,  the  Argentine, 

the   Maxixe,    the   Tango,  —  the    good    with 

the  bad  is  the  story  of  these  days,  for  the 

C69] 


DANCING  MADE  EASY 


Maxixe  was  a  beautiful  dance  and  asserted 
its  stateliness  through  the  tumult  of  the 
others. 

The  Tango  and  the  Maxixe,  while  they 
brought  a  yes,  an  epidemic,  have  in  turn 
succumbed  to  the  antidote  of  dances  that 
are  more  sensible  and  easily  learned. 

Supreme  of  these  is  the  Fox  Trot  —  a 
stately  and  fascinating  dance  and  one  that 
will  endure  for  a  long  time. 


[70] 


THE  FOX  TROT 

J 


THE  FOX  TROT 

Fox  Trot  is  hardly  a  descriptive  title,  as 
indeed  this  dance,  which  seems  to  hold  the 
fundamental  principles  of  modern  dances,  is 
most  unlike  a  trot.  Indeed  it  is  a  smooth, 
easy  dance  and  the  most  dignified  of  modern 
dances. 

At  first  you  may  regret  the  lack  of  elas- 
ticity in  the  muscles.  But  patience  must 
come  with  practice,  and  with  it,  too,  that 
feeling  of  ease  which  makes  accomplishment 
easier  and  assured. 

Remember  that  dancing  after  all  is  merely 
walking;  walking,  that  is,  with  the  knees 
bent  at  a  slightly  more  acute  angle  than 
usual. 

In  taking  the  walking  steps  between  varia- 
tions, as  described,  let  it  be  a  long  and  slightly 
[73] 


DANCING  MADE  EASY 


"springy"  step,  of,  say,  the  length  of  your 
foot,  with  a  reaching  sort  of  movement.  You 
will  find  that  this  gives  a  dancing  character 
to  the  step  at  once.  Step,  touching  the 
ball  of  the  foot  first,  resting  naturally  on  the 
heel. 

The  beginner  should  feel  perfectly  at  ease, 
and  in  practicing  the  dances,  herein  simpli- 
fied, the  first  essential  is  the  study  of  time, 
as  shown  in  the  following  steps. 

If  you  have  a  self-playing  musical  instru- 
ment play  a  fox  trot;  but  first  study  and  learn 
the  few  simple  movements  which  directly 
apply  to  what  we  are  trying  to  accomplish. 

At  first  we  will  tax  the  muscles  of  the  leg 
and  set  the  knee  of  the  same  into  action 
beyond  what  it  has  been  accustomed  to. 

Stand  for  first  position,  heels  together, 
toes  pointed  out;  slide  left  foot  to  side  and 
count  one;  close  up  right  foot  to  close  posi- 
tion, count  two;  slide  left  foot  to  left,  count 
[74] 


DANCING  MADE  EASY 


three;  close  right  to  left,  count  four  —  this 
is  just  four  movements  to  the  left  side  ending 
with  the  weight  on  the  left  foot  —  the  right 
foot  being  free;  repeat  by  sliding  right  foot 
to  right  side,  count  one;  close  left  to  right, 
count  two;  slide  right  foot  to  side,  count  three; 
close  left  foot,  count  four. 

After  you  have  tried  this  movement  several 
times  from  left  to  right  you  are  studying  the 
movement  of  the  feet  that  is  necessary  and 
at  the  same  time  studying  tempo,  or  time, 
in  a  simplified  way.  After  this  is  acquired, 
put  on  a  fox  trot  record  and  try  these  steps 
to  music.  Beginning  with  the  first  part  of 
the  strain  step  to  left,  count  one;  close  up 
right,  count  two;  step  to  left,  count  three; 
close  up  right,  count  four;  step  to  right, 
count  one;  close  left  foot,  count  two;  step  to 
right,  count  three;  close  up  left,  count  four. 

The  Fox  Trot  is  danced  to  ^  time  —  in 
four  measures  of  music  there  are  eight  beats. 
[75] 


DANCING  MADE  EASY 


The  space  marked  by  the  upright  lines  across 
the  staff,  or  the  parallel  lines  of  music,  are 
called  measures.  The  beat  of  the  music  is 
caught  in  the  bass,  the  accent  that  you  must 
note  and  keep  time  with  your  step.  In 
stepping  to  music  count  one  and  two  and 
three  and  four  and  (.) 

First  try  a  few  simple  steps  without  part- 
ner; you  will  readily  understand  the  under- 
lying principle  of  two  people  rotating. 

Walk  four  steps  forward.  Take  a  full 
glide  step  to  the  left.  Count  one,  close  the 
right  foot;  count  two,  slide  left  foot  to  side; 
count  three,  which  will  give  you  a  half  turn. 
Glide  right  foot  to  side,  count  one;  close 
left  foot,  count  two;  slide  right  foot  to  side, 
count  three;  —  and  your  weight  will  be  on 
the  right  foot. 

Having  practiced  this  a  while  it  is  time  to 

try  with  a  partner,  and  the  diagrams  concern 

us  from  now  on. 

[76] 


DANCING  MADE  EASY 


Progressing  toward  the  right,  you  find 
you  have  made  four  gliding  steps.  For  the 
first  the  gentleman  turns  around  the  lady, 
in  the  second  gliding  step  the  lady  turns 
around  the  gentleman,  and  in  the  fourth 
gliding  step  youhave  made  two  complete 
turns. 

Starting  with  the  left  foot,  the  gentleman 
takes  four  steps  forward,  a  full  reaching 
step;  count  one  and  two  and  three  and  four 
and  —  (diagram  3). 

The  lady  steps  back  on  the  right  foot, 
[77] 


DANCING  MADE  EASY 


four  full  steps,  count  one  and  two  and  three 
and  four  and — (diagram  3). 

On  the  fourth  step  the  gentleman  has  the 
weight  on  the  right  foot.  Glide  the  left  foot 
to  side  and  incline  to  turn  to  the  right; 
count  one  (4),  draw  right  foot  to  left  side; 
count  two  (5),  slide  left  foot  to  side;  count 
three  (6)  —  that  gives  the  gentleman  a  half 
turn  to  the  right. 

In  this  measure  the  gentleman  turns 
around  the  lady  at  the  same  time  the  lady 
glides  the  right  foot  to  right  side,  inclines  to 

C78: 


DANCING  MADE  EASY 


turn  to  right;  count  one,  draw  left  foot  to 
right;  count  two,  slide  right  foot  to  side, 
count  three;  at  this  point  you  have  made  a 
half  turn  as  shown  in  diagram  (6). 

The  gentleman  having  started  to  turn  to 
the  right,  keeps  into  the  swing  of  the  turn. 
Glide  right  to  the  side  (7),  still  inclining 
towards  the  right;  count  one  (7).  Draw 
left  foot  to  right,  count  two  (8)  and  slide 
right  foot  to  side,  count  three  (9).  The  lady 
glides  the  left  foot  to  side,  inclining  to  the 
right,  count  one,  draw  right  foot  to  left, 
count  two  and  slide  left  foot  to  side, 
count  three  —  and  at  this  part  the  lady 
turns  around  the  gentleman  and  com- 
pletes the  turn  to  the  right  (as  shown  in  the 
diagram). 

Having  started  the  turn  and  with  it  mo- 
mentum, repeat  the  glide  in  the  same  direc- 
tion, still  counting  1-2-3  ^^^  1-2-3  ^^^  (•) 

You  win  now  find  that  you  have  made  two 
[793 


DANCING  MADE  EASY 


turns  around  to  the  right    (as   in    diagram 
9);   then  repeat  full  figure. 

Second  Figure  (Turkey  Trot)  Turning 
Steps 

Take  four  walking  steps  same  as  first 
figure  (10).  Then  a  full  glide,  turning  with 
the  left  foot  leading.  Turn  to  the  right  (11- 
12-13),  count  1-2-3;  ^^^y  glide  the  right  foot 
1-2-3.  That  will  bring  you  facing  the  op- 
posite direction.  Take  three  steps  (14)  back 
on  the  beat  of  the  music,  1-2-3,  ^^^  Y^u 
will  find  that  this  will  accent  these  three 
steps.  Gentleman  glides  left  foot  to  side 
around  to  left,  draws  right  to  left  and  takes 
weight  on  right  foot,  count  3,  —  making  half 
turn  to  left  (15).     Now  repeat  figure  in  full. 

The  Third  Figure. — The  Forward  Glide 

Walk   two    steps,    count    i    (left)    and    2 

(right).     Starting  with  the  left  foot,  leaving 

[80] 


DANCING  MADE  EASY 


ricio 


<> 


the  left  foot  free  to  take  the  glide  on  the 
left  foot,  count  1-2-3  (.^9)'  Lady  starts 
with  right  foot  back  one  and  two  and  1-2-3 
(29).  Then  the  gentleman's  right  is  free  at 
the  end  of  the  gliding  steps,  as  he  has  the 
weight  on  the  left  foot.  Walk  two  steps, 
starting  with  right  foot.  Count  i  and  2 
and  1-2-3  (30)- 

This  figure  can  be  used  four  times  as 
shown  in  the  diagram. 

In   dancing  these  three   figures   it   is   not 

necessary  to  follow  out  this  enchainment  to 
[81] 


DANCING  MADE  EASY 


any  strict  degree.  There  is  no  accepted  or 
rigid  rule  —  that  is  why  each  dancer  seems 
to  be  indulging  in  different  steps.  They  are 
dancing  the  Fox  Trot  but  are  varying  it  and 
adding  their  own  expression.  As  you  be- 
come expert  you  may  endeavor  to  do  this 
too;  as  you  go  on  you  will  find  that  your 
personality  will  enter  greatly  into  your  danc- 
ing, and  it  is  proper  that  it  should. 

To  sum  up:  First  —  the  gliding  turn  is 
used  four  times,  making  two  revolutions  to 
the    right;     Second  —  the    half   turn,    three 

[82] 


DANCING  MADE  EASY 


quick  steps  back  and  half  turn ;  Third  — 
two  steps  and  forward  glide  used  four  times. 
Remember  there  are  always  four  walking 
steps  used  prior  to  first  and  second  figure. 
In  the  third  figure  use  two  steps  between 
each  glide. 


C83: 


THE  ONE  STEP 


THE  ONE  STEP 

In  the  One  Step  the  gentleman  starts  with 
the  left  foot  forward  1-2-3-4-5-6-7 
and  8.  The  lady  goes  back  starting  with 
the  right  foot.  Right,  left,  1-2-3-4-5- 
6-7-8. 

On  the  eighth  (8)  step  the  gentleman 
draws  the  right  foot  close  to  the  left  as  shown 
in  diagram  (1-2).  The  left  foot  is  free  to 
begin  the  next  figure. 

The  lady  on  the  eighth  (8)  step  draws  the 
left  foot  in  front  of  the  right  toe,  pointed 
out,  and  that  leaves  the  weight  on  the  left 
foot.  Now  if  you  examine  the  feet  you  will 
find  that  you  have  your  feet  in  the  same 
position;  the  left  foot  will  be  in  front  of  the 
right.     See  diagram  2. 

It  may  be  advisable  for  the  gentleman  to 
[87] 


DANCING  MADE  EASY 


step  this  off  1-2-3-4-5-6-7  and  — 
just  as  if  you  would  cross  your  right  foot 
in  the  back.  Also  the  lady  starting  back  on 
the  right.  After  a  few  times  you  will  find 
this  movement  easy  to  accomplish;  you  have 
merely  been  taking  walking  steps,  the  gentle- 
man going  forv/ard,  the  lady  backward. 

Second  Figure 

Having  ended  the  first  figure  we  enter  the 
variations  of  the  One  Step. 

The  gentleman  begins  on  the  right  foot, 
lady  on  the  left. 

Gentleman  takes  four  steps  forward,  lady 
four  steps  back.  Gentleman,  left,  right, 
left,  right;  lady,  right,  left,  right,  left  —  (3). 

The  weight  is  now  on  gentleman's  right 
foot  and  on  the  Iady*s  left. 

Gentleman  glides  the  left  foot  to  the  side 

and    inclining    to    progress    around    to    the 

right,  count  one  (4);    followed  by  right  foot, 

[88] 


DANCING  MADE  EASY 


count  two  (5);  slide  left  foot  out,  count 
three  (6),  and  with  the  glide  you  will  have 
made  a  half  turn  —  diagram  6. 

Gentleman  having  started  to  turn  to  the 
right,  keeping  into  the  swing  of  the  turn, 
glide  right  foot  to  side,  still  inclining  towards 
the  right;  count  one  (7).  Draw  left  foot  to 
right,  count  two  (8),  and  slide  right  foot  to 
side:  count  three  (9).  The  lady  glides  the 
left  foot  to  side,  inclining  to  the  right,  count 
one  (7),  draw  right  foot  to  left,  count  two  (8) 
and  slide  left  foot  to  side,  count  three  (9)  — 
and  at  this  part  the  lady  turns  around  the 
gentleman  and  completes  the  turn  to  the 
right.  Repeat  figure  in  full.  This  step  is 
the  same  accented  glide  as  you  take  the 
turn  in  your  second  figure.  But  the  best 
way  to  get  the  step  shaped  is  to  take  the 
glide  straight  forward. 


C89] 


DANCING  MADE  EASY 


nc  J6 


t 


RAMBLE 
Glide  Figure  (One  Step) 

Take  four  walking  steps,  same  as  second 
figure  —  diagram  3. 

Gentleman's  Individual  Steps. — The  gentle- 
man glides  the  left  foot  straight  forward, 
count  one  (16),  followed  by  the  right,  count 
two  (17),  glide  left  foot  forward,  count  three 
(18),  and  glide  right  foot  forward,  count 
one    (19),    followed  by  left  foot,  count  two 

(20),  glide  right  (21). 

[90] 


DANCING  MADE  EASY 


Lady's  Complement  Steps. — The  first  half 
turn  the  gentleman  turns  around  the  lady; 
the  lady  glides  the  right  foot,  count  one,  (i6); 
followed  by  the  left;  count  two  (17),  glide 
right;  count  three  (18)  and  in  taking  the 
glide  step  see  that  you  progress  around  to 
the  right  same  as  diagram. 

Gentleman.  —  Gentleman  glides  right  foot; 
count  one  (19),  followed  by  left  foot;  count 
two  (20),  glide  right,  count  three  and  (.)  (21). 
[91] 


DANCING  MADE  EASY 


P»0  25       ^ 


Lady.  —  The  lady  glides  left  foot;  count 
one  (19),  followed  by  right  foot;  count 
two  (20),  glide  left;   count  three  (21). 

Repeat  glide  same  as  diagrams  16,  17,  18 
and  position  is  attained  as  in  diagrams  22, 
23,  24.  Then  make  left  turn  as  in  diagram 
25,  26,  27,  28. 


Third  Figure  (One  Step) 
Starting  with  the  left  foot,  the  gentleman 
walks    four    steps    (27);     the    lady    starting 
with  the  right  foot  walks  back  —  diagram  27. 

[92] 


DANCING  MADE  EASY 


Again,  as  in  the  Fox  Trot,  you  may  break 
away  from  the  routine  of  these  figures;  you 
may  mix  the  figures,  make  your  variations 
wherever  and  whenever  you  wish.  You  break 
no  social  laws  by  pleasing  yourself  with  the 
enchainment  of  the  dances. 


[93] 


THE  WALTZ 


THE  WALTZ 

It  is  but  the  name  that  is  reminiscent;  for 
the  waltz  of  to-day  is  danced  with  a  glide  — 
and  to  the  fullest  meaning  of  that  term.  It 
is  danced  in  J  time. 

Starting  with  the  left  foot,  gentleman  takes 
four  steps  forward,  same  as  in  Fox  Trot 
exactly,  a  full  reaching  step,  count  one  and 
two  and  three  and  four  and — (3). 

The  lady  steps  back  on  the  right  foot,  four 
full  steps,  count  one  and  two  and  three  and 
four  and  —  (3). 

On  the  fourth  step  the  gentleman  has  the 

weight  on  the  right  foot.     Glide  the  left  foot 

to  side  and  incline  to  turn  to  the  right;  count 

one  (4),  draw  right  foot  to  left  side;    count 

two  (5),  slide  left  foot  to  side;    count  three 

(6)  —  that  gives  the  gentleman  a  half  turn 

to  the  right. 

[97] 


DANCING  MADE  EASY 


FIG.  I 


Fiaa 


FTft.   I  •■ 


In  this  measure  the  gentleman  turns 
around  the  lady  at  the  same  time  the  lady 
ghdes  the  right  foot  to  right  side,  inchning  to 
turn  to  right,  count  one  (4),  draw  left  foot 
to  right,  count  two  (5),  slide  right  foot  to 
side,  count  three  (6);  at  this  point  you  have 
made  a  half  turn  as  shown  in  diagram  —  (6). 

Gentleman  having  started  to  turn  to  the 
right,  keeping  into  the  swing  of  the  turn, 
glides  right  to  the  side,  still  inchning  towards 
C98] 


DANCING  MADE  EASY 


the  right;  count  one  (7).  Draw  left  foot  to 
right,  count  two  (8),  and  slide  right  foot  to 
side;  count  three  (9).  The  lady  glides  the 
left  foot  to  side,  inclining  to  the  right;  count 
one  (7),  draw  right  foot  to  left,  count  two  (8) 
and  slide  left  foot  to  side,  count  three  (9)  — 
and  at  this  part  the  lady  turns  around  the 
gentleman  and  completes  the  turn  to  the 
right  as  shown  in  the  diagram  —  (9). 

Having  started  the  turn  and  with  it  mo- 
mentum, repeat  the  glide  in  the  same  di- 
rection, still  counting  1-2-3  ^^^  1-2-3 
and  (.) 

You  will  now  find  you  have  made  two 
turns  around  to  the  right  as  in  diagram. 

Now  the  reverse.  The  gentleman  walks 
back  four  steps.  Count  1-2-3-4  and 
(27);  the  lady  walks  forward.  Count 
1-2-3-4  and  (27)  and  the  gentleman 
glides,  the  right  foot  to  side  inclining  to  turn 
to  left.  Count  one  (25),  draw  left  foot  to 
C99] 


DANCING  MADE  EASY 


right;  count  two  (26),  slide  right  foot  to  side. 

Count  three  (28);  the  lady  glides  left  foot  to 

side,  inclining  to  turn  to  left;  count  one  (25); 

draw  right  to  left,  count  two  (26);   slide  left 

foot  to  side,  count  three  and  (28);    at  this 

part  the  gentleman  makes  the  first  half  turn 

as  in  diagram  25  -  26  -  28. 

The  right  foot  is  now  free  to  complete  the 

turn.     Glide   left    foot   to   side,  inclining   to 

turn   to   left,    count   one    (25).     Draw   right 

foot  to  left,  count  two  (26);  slide  right  foot 
[100] 


DANCING  Made  EASY 


to  side,  count  three  (28);  and  in  this  glid- 
ing step  the  gentleman  turns  around  the 
lady. 

The  lady  glides  right  foot  to  side,  inclin- 
ing toward  the  left,  count  one  (25).  Draw 
left  foot  to  right,  count  two  (26);  slide  left 
to  side,  count  three  (28).  At  this  part  the 
lady  turns  around  the  gentleman. 

Having  practiced  the  full  turn  to  the  right 
you  will  readily  understand  the  requirements 
as  it  is  just  the  reverse  turn,  then  repeat  the 

[lOl] 


DANCING  MADE  EASY 


►  ,CJ 


> 


glide  and  make  the  second  turn  same  as  the 
glide  turn  to  the  right. 

Having  stepped  this  off  so  far,  try  it  to 
some  waltz  music  and  count  1-2-3-4; 
1-2-3  and  1-2-3  ^^d  1-2-3  2.nd 
1-2-3  and  (.)  and  you  will  find  you  have 
made  two  revolutions. 

Now  the  gentleman  takes  four  steps  back; 
lady  walks  four  forward;  count  1-2-3-4 
and  1-2-3  and  1-2-3  and  1-2-3  ^^^ 
1-2-3  and  you  have  made  two  turns  to  the 
left  (25-26-28).        [102] 


DANCING  MADE  EASY 


Second  Figure  —  Waltz 
Gentleman  walks  four  steps  forward,  start- 
ing with  left  foot;  count  1-2-3-4  (3), 
Lady  walks  four  steps  back,  starting  with 
right  foot;  count  1-2-3-4  (3).  Gentle- 
man glides  left  foot  forward  in  front  of  right, 
turning  to  right  side  with  a  flowing  glide 
step;  count  one  (16);  draw  right  foot  to  left, 
count  two  (17);  slide  left  foot  forward  and 
to  the  right,  count  three  (18). 

Lady   glides    right    foot   back    in   flowing 

glide  step;  turning  to  right,  count  one  (16), 
[103] 


DANCING  MADE  EASY 


draw  left  foot  to  right,  count  two  (17),  slide 
right  foot  back,  count  three  and  (.)  (18). 

The  gentleman  glides  right  foot  forward 
and  towards  the  left  with  the  flowing  move- 
ment; count  one  and  (.)  (19).  Draw  left  to 
right,  count  two  and  (.)  (20) ;  slide  right  foot 
forward,  still  inclined  to  the  left,  count  three 
and  (.)  (21). 

The  lady  glides  left  foot  back  with  flow- 
ing movement  and  towards  the  left;  count 
one  (19).  Draw  right  to  left,  count  2 
[104] 


DANCING  MADE  EASY 


and  (20).  SKde  left  foot  back,  still  inclined 
to  the  left;   count  three  and  (21). 

Now  the  gentleman  the  same  on  the  right 
foot.  Glide  left  foot  forward  and  toward 
the  right  with  the  flowing  step.  Count 
one  (22);  slide  left  foot  forward  toward  the 
right,  count  two  (23).  Glide  left  forward 
and  toward  the  right,  count  three  (24). 

The  lady  glides  the  right  foot  back  with 

the  flowing  step.     Count  one  and   (.)    (22). 

Draw  the  left  to  right,  count  two  and  (.)  (23). 

Slide  right  foot  back  with  the  flowing  step, 
[105] 


DANCING  MADE  EASY 


<s>       <> 


DANCING  MADE  EASY 


,%     X>   "-i'    <-i,     <&,   <^^ 


C'07] 


DANCING  MADE  EASY 


count  three  (24).  These  steps  will  take  you 
in  a  serpentine  course  as  shown  in  diagrams 
16-24  inclusive. 

The  turn  is  made  on  the  very  same  gliding 
step  as  used  in  all  the  turning  steps;  the 
gentleman  glides  around  the  lady  to  the  left, 
1  —  2-3  and ;  the  lady  with  the  right  foot 
1-2-3  and  completing  the  turn  by  swing- 
ing the  left  foot  around  the  back  and  brings 
her  in  the  line  of  direction  (25-26-28).  The 
lady  glides  the  left  foot  around  to  the  left; 
count  one.  For  the  turn  draw  the  right  foot 
to  left,  count  two;  slide  the  left  foot,  count 
three  and  —  and  the  lady  swings  the  right 
foot  around  in  the  back  and  towards  the  left 
and  draws  the  right  foot  around  in  the  back 
completing  the  turn. 


[108] 


THE  PAUL  JONES 


THE  PAUL  JONES 

An  excellent  diversion  and  one  that  breaks 
the  monotony  of  continuous  Fox  Trot,  One 
Step,  and  Canter  Waltz  may  be  found  in  the 
following  suggestion.  It  seldom  fails  in  stimu- 
lating   enthusiasm    by    a    complete    change 


•o^o.  o*"  ^^^^^  ^««S8«^^ 


in  dancing  partners  and  by  offering  to  the 

self-conscious  a  sufficient   way  to   overcome 

their  timidity. 

Select  some  popular  member  to  act  as  a 

Master  of  Ceremonies,  and  at  a  signal  from 

him  all  join  hands,   ladies  on  the  right  of 

partners,  and  form  a  circle,  the  master  in  the 

center. 

Should  the  number  of  people  be  too  great 
[III] 


DANCING  MADE  EASY 


for  the  size  of  the  room,  a  second  circle  may 
be  formed  inside  and  concentric  to  the  first 
—  and  even  a  third  circle  may  be  so  formed. 
But  the  participants  must  be  impressed  with 
keeping  their  respective  circle  inviolate;  each 
must  return  to  his  or  her  assigned  circle  after 
the  dance  figure. 

On  signal  from  the  master  the  gentleman 
starts  by  taking  the  lady's  right  hand  in  his 
right  and  passing  her;  the  lady  going  around 
circle  to  the  left,  takes  with  her  left  hand  the 
left  hand  of  a  second  gentleman  coming  from 
the  right,  thus  making  a  grand  right  and 
left  movement,  forming  a  chain,  the  ladies 
going  to  the  left,  gentlemen  to  right.  This 
figure  gives  a  change  of  partners  and  a  chance 
for  a  tete-a-tete.  At  the  fourth  signal  all 
join,  enmane,  in  dance  of  one  step  —  until 
stopped  by  signal;  then  join  hands  again 
and  on  signal  go  hands  around.  This  may  be 
repeated  as  the  master  deems  it  advisable. 

[112] 


MARCHING 

The  Grand  March 

While  marching  is  somewhat  apart  from 
dancing,  still  it  is  not  wholly  so,  and  it  may 
be  expedient  to  treat  of  it  here. 

Marching  has  always  found  much  favor 
and  win  continue  to  do  so.  It  may  be  said 
to  open,  to  elaborate  a  function  with  some 
pK)mp  and  circumstance.  To  lead  the  Grand 
March,  be  it  for  your  Lodge  or  your  Sorority 
dance,  will  ever  be  a  unique  and  distinguish- 
ing accomplishment. 


C113] 


DANCING  MADE  EASY 


If  no  side  rooms  permit  the  meeting  of 
partners,  form  on  the  right  side  of  hall  or 
room  as  in  Diagram  A.  The  gentleman  on 
the  left  side  of  lady,  her  left  arm  in  his 
right.     Both  start  with  left  foot. 


C"43 


DANCING  MADE  EASY 


[115] 


DANCING  MADE  EASY 


Having  made  a  complete  tour  of  the  hall, 
turn  and  walk  down  the  center  to  the  fore 
end. 


C"6] 


DANCING  MADE  EASY 


r 


X 


y. 


•o 


•o 


•o 


V      _L1«- 


■99** 


[117] 


DANCING  MADE  EASY 


The  gentlemen  separate  from  the  ladies  at 
the  lower  end. 


Cii8] 


DANCING  MADE  EASY 


X 


o 
o 
o 
o 
o 


t 


Third  Fidure 


o  J8«l  • 


Clip] 


DANCING  MADE  EASY 


The  ladies  and  gentlemen  meet  at  the 
top;  he  walks  in  front  of  his  partner  in  single 
file.  It  is  to  be  remembered  that  the  pre- 
cedence is  not  always  the  established  form; 
it  altogether  depends  on  the  auspices  of  the 
affair;  under  the  auspices  of  a  Iady*s  caption 
a  lady  takes  precedence. 


Cl20]> 


DANCING  MADE  EASY 


\        / 


OQPOOOO 


o 
o 
o 
o 
o 

Q 
O 


^s( 


Fburib 


[121] 


DANCING  MADE   EASY 


At  the   lower   end  the   line  divides,  each 
lady  following  her  respective  partner. 


[122] 


DANCING  MADE  EASY 


V / 


rm 


^  ^  o 

•  2  • 

o  g  o 


C'23] 


DANCING  MADE  EASY 


Having  reached  the  top  of  the  hall  the 
gentlemen  and  ladies  come  together  in  twos. 


ri24  3 


DANCING  MADE  EASY 


f    \        / 

O  •  O  •  0^0»0  000 

I  llllf  I 


o 


Sixlk 


^"mmmmimmmmm^ittgmmmmmm 


o 


[125] 


DANCING  MADE  EASY 


At  this  part,  two  gentlemen  and  two  ladies 
go  the  same  way  as  they  divide;  the  ladies 
follow  their  partners. 


ri26] 


DANCING  MADE  EASY 


\ 


(Seven'th 


t 


oo 

•# 
oo 

oo 


oq. 


t 


o 
o 


oo         •• 
o     o^o^    I 


CI27] 


DANCING  MADE  EASY 


'  The  gentlemen,  meeting  two  from  each 
side,  march  down  centre,  four  abreast;  the 
ladies  follow  also  in  fours.  . 


C128] 


DANCING  MADE  EASY 


\ 

— \  0000/ 

0000 


[129] 


DANCING  MADE  EASY 


In  this  figure  they  move  as  composite 
units  of  eight;  four  gentlemen  abreast,  four 
ladies  abreast.  They  divide  at  lower  end; 
the  gentleman  on  the  inside  stands  as  a  pivot, 
making  the  turn  in  true  military  fashion; 
the  ladies  likewise. 

The  last  turn  should  be  carefully  made,  as 
this  is  the  crowning  point  in  achieving  the 
march,  the  gentleman  on  the  inside  acting 
as  a  pivot;  each  in  line,  keeping  his  body 
well  together  so  that  those  on  the  outside 
have  to  take  longer  steps  to  negotiate  the 
turn  with  the  right  military  effect. 


C130] 


DANCING  MADE  EASY 


[131] 


DANCING  MADE  EASY 


After  the  lines  are  all  formed  in  platoons 
of  eight,  the  line  of  gentlemen  march  down 
to  the  end  of  the  hall,  while  the  rest  of  the 
participants  remain  standing.  When  the  first 
line  of  gentlemen  has  reached  the  lower  end, 
turn  and  face  the  marchers.  As  the  ladies' 
line  marches  down  toward  them,  the  rest 
remain  standing  until  the  ladies  reach  the 
end  and  are  facing  their  partners.  Remain 
so.  Then  the  next  line  of  gentlemen  march 
down  the  same  way,  face  about,  and  find  at 
this  point  the  ladies  and  gentlemen  are 
standing  back  to  back  or  facing  partners. 
Then  the  ladies  march  down  the  same  and 
are  facing  their  partners.  And  so  on  until 
the  entire  participants  have  come  to  the 
lower  end  of  the  hall.  Then  the  orchestra 
starting  a  One  Step,  the  dance  proper  begins. 

The  forms  achieved  at  the  end  of  the 
march  are  usually  symbolic  of  the  affair  — 
some  significant  form,  as  the  Maltese  Cross, 
C132] 


DANCING  MADE  EASY 


y 


OOOOOOOO 


oo' 


\ 


Tenfli 


.***-• 


C133] 


DANCING  MADE  EASY 


oooooooo 

o  OcPoo o  R  2 
o  o oP  OoO  o  o 

O   O  0_     ^rP   Or? 


CI34]' 


DANCING  MADE  EASY 


t; 


7 


r  if 

;000^0000    #• 


iL= 


J  L 


J 


C135] 


DANCING  MADE  EASY 


triangle,  alphabetical  arrangements,  etc. 
Diagrams  K  and  L  are  added  to  show  pos- 
sible arrangements  and  the  general  principle 
of  movement  In  Diagram  K,  namely  the 
winding  and  unwinding  spool  the  couples  go 
into  the  centers  of  the  top  and  lower  halls  in 
order  to  get  space  for  the  two  spools. 


1 136] 


NOVELTIES 


NOVELTIES 

The  Barn  Dance 

The  Barn  Dance  is  an  always  pleasing 
novelty.  It  starts  with  a  momentum  that 
carries  it  along  to  its  happy  conclusion  and 
remains  the  most  popular  and  lasting  of 
novelties.  There  is  no  end  to  what  may  be 
done  to  add  to  the  infinite  variety  of  its  ap- 
peal and  humor.  To  issue  invitations  printed 
on  straw  paper  couched  in  Josh  Billing  dia- 
lect; to  decorate  with  straw  or  corn  in  the 
husk,  with  pumpkins  and  lanterns;  to  dress 
in  overalls,  gingham  and  white  linen  dusters; 
to  serve  cider  and  ginger-cake  —  to  suggest 
these  is  merely  to  touch  on  its  many  possi- 
bilities.   The  usual  order  of  dancing  obtains. 

C139T 


DANCING  MADE  EASY 


The  Memphis  Tapping  Novelty 

This  is  a  highly  entertaining  novelty, 
though  of  necessity  restricted  and  adaptable 
only  to  gatherings  of  a  purely  private  or  social 
intimate  character. 

While  dancing  one  gentleman  taps  another 
and  the  one  so  tapped  must  surrender  his 
partner.  Its  possibility  as  a  popularity  con- 
test may  be  seen  at  once.  A  spirited  novelty 
and  the  amusement  is  insistent  throughout. 

Lucky  Number  Novelty 

Used  sometimes  as  a  magnet  for  inducing 
a  large  attendance;  for  a  charity  benefit  oi' 
something  of  the  sort. 

The  person  directing  offers  something  in 
way  of  prize  or  souvenir  to  be  awarded  the 
last  couple  left  on  the  dance  floor.  Before 
the  dance  those  gentleman  who  are  to  take 
part  are  given  a  card  on  which  is  inscribed  a 
[140] 


DANCING  MADE  EASY 


number,  from  number  one  to  the  number 
actually  engaged  on  the  floor.  After  they 
have  danced  the  One  Step  a  short  while  the 
one  in  charge  signals  and  the  Orchestra  stops: 
the  master  then  calls  out  say  five  numbers. 
These  numbers  have  been  selected  in  all  fair- 
ness, and  in  such  method  as  to  be  apparent 
and  above  board.  The  master  then  goes  to  the 
holders  of  these  numbers,  collects  their  cards 
and  retires  them  from  the  dance.  And  so  on 
until  but  a  few  are  left.  Should  five  couple 
be  left  at  the  end,  then  two  numbers  are 
selected  and  called. 

After  the  gentleman  has  become  fully  fa- 
miliar with  the  steps  his  next  concern  will  be 
to  lead  a  partner  through  the  dance.  For  his 
is  essentially  the  part  to  lead;  his  partner 
depends  and  moves  on  his  initiative.  He 
holds  the  lady  gently,  but  firm  enough  to 
indicate  by  pressure  or  movement  of  the  left 
hand  the  direction  he  would  have  his  partner 
C141] 


DANCING  MADE  EASY 


go.  Otherwise  the  lady  would  try  to  out- 
guess him.  And  he  is  on  the  alert;  ever 
vigilant  to  avoid  contact  with  obstacles  or 
other  dancers  as  he  leads  to  the  right  — 
always  to  the  right. 

If  the  occasion  does  not  call  for  gloves,  he 
merely  rests  the  tips  of  the  fingers  on  the 
Iady*s  back  and  thereby  shows  a  prop>er 
solicitude  for  her  dainty  and  perishable 
gown. 

Her  hand  too  must  be  held  to  avoid  the 
unpleasant  contact  of  perspiring  palms. 

Take  your  position  in  dancing  with  con- 
siderable care.  Avoid  the  erroneous  fad  of 
facing  your  partner  directly;  it  is  not  hygenic 
and  lacks  something  in  grace. 

In  conclusion  a  few  suggestions  may  be 
p>ertinent.  You  will  make  mistakes  in  learn- 
ing; you  will  make  them  later  when  you 
are  proficient  and  dancing  has  become  an 

assured     accomplishment  —  even     the     best 
[142] 


DANCING  MADE  EASY 


dancers  make  missteps;  but  it  is  merely  an 
occasion  for  graciousness  —  nothing  else. 

Avoid  any  tendency  toward  the  angular, 
either  in  carriage  or  movement;  avoid  low 
dips  and  anytfiing  and  everything  acrobatic. 

Do  not  look  at  the  feet  as  you  practice 

and  this  is  an  important  restriction;  watch- 
ing the  feet  will  surely  bewilder  the  taking 
of  the  steps. 

At  all  times  maintain  a  steadiness  about 
hips  and  shoulders.  Wriggles,  contortions* 
romping  are  always  matters  of  reproof  on  the 
dance  floor. 

Do  not  flounce  the  elbows,  nor  pump  the 
arms  —  and  glide;   do  not  hop. 

And  ab6ve  all  things  be  at  ease  and  as 
natural  as  possible;  even  to  the  expression 
of  the  face;  try  to  catch  the  infection  of  en- 
joyment about  you;  look  the  part  of  one  who 
enjoys. 

[143] 


DANCING  MADE  EASY 


The  Minuet 

The  beloved  and  stately  minuet  is  of  truly 
French  derivation  but  it  so  inextricably  en- 
twined with  the  candle-Iit  romance  of  our 
Colonial  days  that  we  think  of  it  as  our  very 
own.  It  is  often  rehearsed  to-day  —  in  fact 
it  will,  forever,  it  seems,  find  favor  with  peo- 
ple of  good  taste  and  refinement  —  with  its 
resplendent  atmosphere  of  lavendar  and  old 
lace,  sparkling  satin,  and  powdered  wigs. 
When  we  think  of  the  Minuet,  we  think  of 
Mozart,  though  many  classical  compositions 
may  be  used;  it  is  often  rendered  now-a-days 
to  the  "glow-worm,"  for  instance. 

In  the  dance  formation  the  couples  should 
arrange  in  columns,  about  four  feet  apart, 
and  march  to  the  dancing  space  in  center  of 
room.  Should  four  couples  take  part,  the 
two  inside  couples  step  to  side,  second  couple 

to  right,   third  couple  to  left  —  the   fourth 

[144] 


DANCING  MADE  EASY 


will  then  be  facing  the  first  couple  forming  a 
square. 

At  the  introduction  of  the  music  all  face 
partners,  the  gentlemen,  using  the  low  roman- 
tic bow,  bows  stepping  back  with  the  left 
foot  and  drawing  the  right  heel  to  hollow  of 
left  foot,  beginning  at  breast,  making  a  sweep- 
ing gesture  outward  with  the  right  hand,  and 
a  gesture  backward  with  the  left  hand. 

The  lady  steps  forward  on  the  left  foot  and 
draws  the  right  foot,  with  a  sweeping  move- 
ment, allowing  her  body  to  go  down  with  the 
movement  slowly  and  gracefully,  in  short 
making  a  genuflection  in  which  the  knee 
almost  touches  the  ground.  After  saluting 
his  partner  the  gentleman  turns  and  faces  the 
lady  on  the  left;  at  the  same  time  the  ladies 
turn  to  the  right  and  faces  the  gentlemen; 
they  bow  and  courtesy  and  the  introduction 
is  complete. 

For  the  dance  the  first  and  second  couple 
[145] 


DANCING  MADE  EASY 


[146] 


DANCING  MADE  EASY 


go  forward  to  the  center,  the  gentlemen 
holding  the  ladies  hands  slightly  higher 
than  the  shoulder,  the  ladies'  hands  held  un- 
derneath. 

They  bow  to  opposite  couples;  then  gentle- 
man takes  opposite  ladies'  hands  and  walks, 
with  a  slow,  dragging  step  halfway  around, 
changes  to  the  left  hand  and  retraces,  then 
meeting  partner  walks  to  place. 

Then  the  side  couples,  whom  we  shall 
name  third  and  fourth  couples,  perform  the 
same. 

Second  Figure.  All  bow  and  courtesy  to 
partners  and  sides  again  for  second  figure. 
The  first  couple  goes  to  first  side  and  bows, 
then  to  the  second  lead  and  bows,  then  to 
the  second  side  and  bows,  then  returns  to 
place  and  at  this  point  all  bow  to  partners. 
This  is  repeated  by  each  of  the  couples  in 
turn,  making  four  repetitions. 

Third  figure:  All  bow  to  partners  and  sides 
[  147] 


DANCING  MADE  EASY 


for  third  introduction.  All  four  couples  go 
forward  to  center;  join  hands  and  bow;  the 
four  ladies  join  hands  making  a  Turnstile; 
Gentleman  remain  standing,  then  walks 
around  with  slow  dragging  stride  until  he 
reaches  partner,  to  whom  he  bows  —  and  this 
is  repeated  four  times.  The  second  and 
fourth  time  the  gentlemen  go  to  the  center 
and  form  a  Turnstile. 

Fourth  figure:  All  bow  to  partners  and 
then  to  sides.  All  join  hands  and  go  forward 
to  center;  bow,  then  go  back.  The  two 
side  couples  separate  and  form  a  line,  with 
the  lead  couples  forward  to  the  center,  four 
in  each  line,  and  back-turn  partners  at  their 
own  places.  Then  join  hands  and  go  for- 
ward to  center  and  back  the  leads.  Divide 
and  form  lines  with  the  ladies  forward  and 
back-turn  partners  at  place.  All  bow  to 
partners,   the   remaining   faced    to    partners 

form  grand  chain.    The  gentleman  gives  the 
[148] 


DANCING  MADE  EASY 


right  hand  to  partner,  bows,  passes  partner, 
meeting  with  his  left  hand  the  next  lady, 
then  meeting  the  next  lady  to  her  with  his 
right  hand,  meeting  the  third  lady  with  his 
left,  bringing  him  to  his  partner;  he  bows. 
March  in  column  in  the  order  entered.  That 
would  bring  the  first  couple  going  through 
the  center  of  the  set  and  the  second  lead 
separating  until  the  three  couples  have  passed 
through;  the  hands  of  the  couples  are  clasped 
and  held  to  make  an  arbor  for  the  couples 
to  pass  under. 

The  steps  used  throughout  the  dance  is 
easy  to  execute.  In  taking  the  step  use  a 
stride  about  the  length  of  the  foot.  Now, 
to  compare  this  to  your  natural  step  you  will 
find  it  a  trifle  longer.  The  gentleman  steps 
forward  on  the  left  foot  and  the  lady  steps 
with  the  left,  draws  the  right,  the  toe  touch- 
ing floor,  the  right  toe  touching  the  left  heel 
without  the  weight;  then  step  forward  on  the 

C  149] 


DANCING  MADE  EASY 


right  foot;  lady  with  right  foot;  draw  left 
the  left  toe  close  up  to  the  right  heel.  Be 
sure  you  use  this  step  in  every  step  you  take 
in  the  dance. 

Novelty.    A  Trip  to  Jerusalem 

A  trip  to  Jerusalem  is  a  novelty  that  will 
always  entertain  and  have  for  its  reward  an 
especial  savor  of  fun.  It  has  that  about  it 
that  they  keep  the  participants  on  the  an- 
xious bench  until  the  very  end;  "going  to 
Jerusalem  for  the  chance  to  sit  down." 

The  chief  object  of  the  game  is  to  acquire 

a  chair.     It  is  an   old-fashioned   game  they 

sometime  play  at  neighborhood  parties  and 

church  sociables.    To  play  it  seventeen,  or 

more  or  less,  people  march  to  music  around 

sixteen  or  more  or  less  chairs,   always  one 

chair  less  than  the  number  of  participants. 

When   the   music   stops,    at    a   prearranged 

time,   every  one  of  the  marchers,   "on  his 
[  150  ] 


DANCING  MADE  EASY 


\ f 


•     # 

odb# 
odb# 


0 

o 


d  bo 

d  b# 

d  ho 

dl  b  • 

d  h 


[i«i] 


DANCING  MADE  EASY 


own,"  makes  a  rush  for  a  chair.  As  neigh- 
borhood parties  need  not  be  so  finely  syn- 
chronized as  an  aeroplane  propeller  and  the 
gun  release,  this  rush  may  be  described  as  a 
scramble  and  every  one  sits  on  more  or  less  of 
every  one  else;  the  inevitable  stout  party 
treads  on  the  inevitable  thin  parties'  instep 
with  the  usual  profuse  apologies. 

When  the  dust  of  conflict  has  settled  it  is 
found  that  one  unfortunate  is  wholly  without 
chair.  He  is,  of  course,  hooted  and  ignomini- 
ously  retired  to  the  discard. 

Then  a  chair  is  removed  from  the  original 
number  and  the  game  proceeds  as  before; 
and  so  on,  until  by  repeating  the  process  of 
eliminating  chair  and  unseated,  there  is  but 
one  remaining  —  the  hero  —  or  heroine  as  it 
may  be  —  of  the  evening. 

A  trip  to  Jerusalem  has  many  appreciable 

thrills;    there  is  always  that  sporting  spirit 

in  man  or  woman  that  keeps  lively  the  desire 
[152] 


DANCING  MADE  EASY 


to  win  and  in  this  case  the  excitement  grows 
more  intense  as  the  chair  gets  less  in  number. 

But  the  fun  of  the  unseated  is  not  abated 
by  his  retirement,  for  on  the  next  turn  an- 
other wallflower  is  added  to  the  garden. 

Have  the  chairs  arranged  in  two  rows, 
back  to  back.  If  there  are  no  musicians  put 
on  a  march  record  and  have  it  attended  by- 
some  one  to  stop  it  at  some  irregular,  or  set 
time.  The  participants  march  around  the 
chairs  in  single  file  and  on  the  stop  of  the 
music  the  grand  rush,  the  exodus  to  Jerusalem 
begins! 


C153] 


UP  TO  THE  MINUTE  DANCES 

AND 

SOME  OLD  FAVORITES 


UP  TO  THE  MINUTE  DANCES 

AND 

SOME  OLD  FAVORITES 
ADDITION  BY  GABRIELLE  ROSIERE 

Every  year  now  sees  dances  so  little  lacking 
in  grace  and  character  that  they  vanish  even 
before  the  end  of  the  season  and  only  one  or 
two  of  actual  value  remain.  The  past  season 
has  produced  The  Canter,  a  waltz  step  showing 
the  new  use  of  "direction,"  The  Spanish 
Schottish,  or  Schottish  Espagnole  as  it  is 
known  in  Paris  where  it  is  most  popular  and 
for  which  a  new  record  has  just  been  made, 
and  variations  of  the  fascinating  Fox  Trot 
along  the  new  lines.  The  pure  hesitation 
waltz  is  also  being  danced  again. 

The  most  noticeable  points  in  the  new 
dances  which  remain  after  the  froth  has  dis- 


DANCING  MADE  EASY 


appeared  is  the  use  of  "direction",  that  is  in 
the  walking  or  running  steps  in  a  straight 
line  forward  and  backward  and  also  in  the 
many  waltz  turns  which  break  the  monotony 
of  these  straight  lines  and  lend  a  swinging 
grace  to  the  simple  steps. 

Balance  is  to  be  noticed  in  the  making  of 
turns  and  changing  from  the  waltz  step  to  the 
walking  step  in  the  last  count  of  the  second 
measure  as  the  waltz  step  has  only  three  counts 
so  there  must  be  a  slight  pause  to  complete 
the  measure.  The  pivot  turns  are  very  much 
in  evidence  and  all  the  new  combinations  of 
steps  and  music  are  tending  away  from  the 
vulgar  and  deadly  "jazz." 

To  these  new  dances  is  added  the  favorite 
Virginia  Reel  which  finishes  off  the  end  of  a 
gay  evening  with  a  swing  and  a  dash.  It 
is  danced  especially  at  informal  dances  and 
at  the  summer  clubs. 

The  Cotillion  is  returning  with  all  its  de- 
C158] 


DANCING  MADE  EASY 


lightful  figures,  which  offer  an  opportunity 
for  coquetry  in  the  selection  of  partners  by 
the  ladies  which  is  usually  a  masculine  prerog- 
ative. Many  of  these  figures  will  be  recog- 
nized as  similar  to  the  ones  so  often  danced 
in  the  Paul  Jones  under  the  direction  of  a 
skilful  leader.  The  favors  offer  a  chance  to 
display  most  charming  taste  in  their  selection 
and  in  former  days  the  belle  of  the  ball  needed 
an  extra  carriage  to  take  home  her  trophies 
after  a  brilliant  cotillion.  It  also  provides  the 
hostess  with  an  eager  eye  for  novelties,  an 
occasion  for  presenting  a  very  intriguing  and 
thrilling  evening  which  will  delight  the  eye 
and  ear  with  the  varieties  of  colors,  figures, 
dances  and  music. 

A  brief  chapter  has  been  added  on  how  to 
plan  for  an  entertaining  evening  when  each 
guest  thoroughly  enjoys  all  its  pleasures  and 
this  also  includes  suggestions  on  small  f>oints 
of  dancing  etiquette  so  valuable  in  giving 


DANCING  MADE  EASY 


poise  to  the  debutante  or  to  one  who  has  been 
long  absent  from  the  social  world. 


Ci6o] 


THE  CANTER  WALTZ 


THE  CANTER  WALTZ 

The  Canter  Waltz  has  been  revived  and! 
presents  an  opportunity  to  show  the  use  of 
"direction"  in  the  straight  backward  and 
forward  series  of  walking  steps. 


I.  The  Canter  Waltz 

Showing  the  count  of  2  steps  as  against  the  3  count  of 
waltz  time. 

This  dance  is  walking  to  waltz  time  but 
walking  most  quietly  and  gracefully.    There 
C163] 


DANCING  MADE  EASY 


are  two  steps  to  the  three  counts  of  music. 
Step  forward  on  i  and  make  the  second  step 
between  the  2  and  3  count.  Give  the  first 
step  the  accent,  although  the  steps  are 
almost  of  the  same  value.  See  Diagram  i. 
It  may,  perhaps,  help  the  student  f prac- 
tising alone  with  the  aid  of  the  victrola  to 
count  I-&,  2-&,  3-&,  making  the  second  step 
on  the  second  &,  until  able  to  do  the  step 
smoothly. 


fi643 


THE  SCHOTTISH  ESPAGNOLE 


THE  SCHOTTISH  ESPAGNOLE 

This  is  the  latest  dance  and  shows  a  de- 
cided variation  from  the  other  dances  of  the 
day  as  the  music  has  a  definite  rhythm  quite 


2.  The  Schottish  Espagnole 

Showing  the  count  of  2  walking  step>s,  followed  by  3 
running  steps  against  the  4  cxjunt  of  the  music 

different  from  the  other  dance  music.  A  new 
record  called  "Mon  Homme"  has  just  been 
made  for  this  dance  which  will  quickly  be 

C167] 


DANCING  MADE  EASY 


followed  by  others.  The  music  in  f  time  is 
so  much  more  dashing  and  animated  that 
there  will  be  less  of  the  swaying  movement 
of  past  seasons. 

The  steps  through  out  the  dance  are  as 
follows: 

2  long  walking  steps,  counting  1-2,  3-4,  to 
one  measure. 

3  running  steps,  counting  1-2-3,  ^^^  balance 
or  pause,  counting  4  to  complete  the 
measure.     See  illustration  No.  2. 

2  long  steps,  1-2 — ^3-4, 


.   =  2  measures. 
2  runnmg  steps  1-2-3 — ^4> 

Repeat,  commencing  with  the  opposite  foot 

and  then  pivot. 
The  turns  are  made  only  on  the  walking  steps 

and  never  on  the  running  ones.     Except 

in  the  case  of  a  pivot,  the  turns  are  about 

}  or  less. 
Four  schottish  steps  may  be  made  in  every 

direction  so  that  the  efifect  is  that  of  a 

zigzag  line. 

,  C1683 


DANCING  MADE  EASY 


Variations 
I 
3  schottish  steps  forward,  commencing  with 
the  left  foot,  then  right,  then  left, 

2  measures. 

Right  foot  forward  making  |  turn  to  the 

right,  left  foot  back  and  3  diagonal  steps 

back,  2  measures. 

Step  back  with  left  foot  making  §  pivot  to 

right.     Step  forward  with  right  foot  and 

three  steps  forward,  2  measures. 

Right  foot  forward  and  pivot  |  to  the  right. 

Left  foot  back  and  3  steps  back, 

2  measures. 

I  schottish  step  backward,  2  measures. 

Right  foot  back  and  pivot  to  the  left  and  3 

steps  forward,  2  measures. 

2 
All  Right  Turns. 

I  schottish  step  forward,  2  measures. 

[169] 


DANCING  MADE  EASY 


Right  foot  forward  and  make  J  turn  to 
right.  Left  foot  back  and  3  diagonal 
steps  back,  2  measures. 

Left  foot  back  and  make  J  turn  to  right. 
4    steps    forward,    and   3    diagonal    steps 

forward,  2  measures. 

Right  foot  back  and  make  |  turn  to  right. 
Left  foot  back  and  3  diagonal  steps  back, 

2  measures. 
3 

Left  foot  forward  and  make  i  turn  to  the 
left.  Right  foot  back  3  diagonal  steps 
back,  2  measures. 

Right  foot  back  and  make  j  turn  to  left  and 
3  diagonal  steps  forward  on  left, 

2  measures. 

I  schottish  step  diagonally  forward  on  left, 

2  measures. 

I  schottish  step  diagonally  back  with  right 
foot,  2  measures. 


[170] 


VARIATIONS  OF  THE  FOX  TROT 


VARIATIONS  OF  THE  FOX  TROT 

These  descriptions  of  the  steps  are  given 
for  the  masculine  point  of  view  and  can  be 
easily  reversed  for  the  lady. 

When  a  pivot  turn  is  used  in  the  Fox 
Trot,  '2  is  counted  for  each  step,  making 
a  complete  turn  in  4  steps.  The  pivot  steps 
are  given  in  a  separate  section  as  they  play 
such  an  important  part  in  all  the  modern 
dances. 

I 

4  walking  steps,  commencing  with  the  left 
foot  and  counting  1-2,  so  that  4  steps 
equal,  2  measures* 

2  waltz  steps,  2  measures. 

Step  forward  on  the  left  foot,  count- 
ing 1-2.    Slide  right  foot  to  right  side, 
C173] 


DANCING  MADE  EASY 


counting   3.     Close   right   foot   to   left 

foot,  counting  4,  =1  measure. 

Step   forward   on   right   foot,   coun^ 

ing   1-2.     Slide  left  foot  to  left  side, 

counting   3.     Close   right   foot  to   left 

foot,  counting  4,  =1  measure. 

4  walking  steps  forward,  commencing  wit^ 

left  foot,  2  measures. 

2  waltz  stej>s,  making  complete  turn, 

2  measures. 
Step  forward  on  left  foot,  making  a  J  turn 
to   the    left,    counting    1-2.      Slide    right 
foot   to   right   side,    continuing   the   turn 
to  the  left,  counting  3.    Close  left  foot  to 
the  right  foot,  completing  J  turn,  count- 
ing 4,  =1  measure. 
Step  backward  on  right  making  J  turn  to 
the  left,  counting   1-2.     Slide  left  foot  to 
left    side,    continuing    turn,    counting'  3. 
Close  right  foot  to  the  left  foot,  complet- 
ing turn  and  counting  4,         =1  measure. 
[174] 


DANCING  MADE  EASY 


4  walking  steps,  2  measures. 

Complete  pivot,  2  measures. 

4  walking  steps,  2  measures. 

J  pivot,  I  measure. 

4  walking  steps  backward  on  line  of  direc- 
tion, 2  measures. 
J  pivot,  I  measure. 
Again  facing  forward  on  line  of  direction. 

3 

4  walking  steps,  2  measures. 

2  waltz  turnings,  2  measures. 

2  waltz  steps  forward  on  line  of  direction, 

2  measures. 

4  walking  steps  forward,  2  measures. 

4 

4  walking  steps,  2  measures. 

2  waltz  steps,  2  measures. 

4  walking  steps,  2  measures. 

2  waltz  stef>s  turning,  2  measures. 
C175] 


PIVOT  TURNS 


PIVOT  TURNS 

The  complete  pirot  turn  used  so  much  in 
the  dances  of  txxiay  is  made  in  four  steps 
and  two  measures  of  music. 

Commence  with  the  feet  in  first  position 
for  practising  and  place  the  weight  of  the 
body   on   the   right   foot. 

Step  forward  on  the  left  foot,  making  a 
J  turn  to  left  and  counting  1-2,  =  J  pivot. 

The  body  is  now  turned  to  the  left  with 
the  weight  on  the  left  foot.  Step  forward 
with  the  right  foot  turning  it  so  that  the 
step  is  actually  taken  backwards  and  when 
finished  the  dancer  faces  the  original  posi- 
tion of  starting  and  has  made  a  |  turn, 
counting  3-4,  =  J  pivot. 

Place  the  weight  on  the  right  foot  and 
step  forward  on  the  left,  making  a  }  turn 
C  179 II 


DANCING  MADE  EASY 


3.  The  Pivot 

Showing  j>osrtion  of  the  feet  in  the  4  single  steps  of  the 
c<MapIete  pivot  made  in  2  measures  of  nmsic. 

to  the  left  and  counting  1-2,  =  f  pivot. 
Place  the  weight  again  on  tbe  left  foot 
and  step  forward  with  the  right  foot,  turn- 
ing it  so  that  the  actual  step  is  taken  back- 
wards continuing  turn  to  left  and  counting 
3-4.  This  makes  a  complete  turn  from 
moment  of  starting  and  leaves  the  left  foot 
[180] 


DANCING  MADE  EASY 


free   to   begin  walking,  =  f  pivot   or   com- 
plete pivot. 

Once  the  idea  is  mastered  it  is  done  quick 
as  a  wink  and  as  easily,  however,  always 
with  an  air  of  accomplishing  the  complete 
or  half  turns  in  the  quietest  and  most  even 
manner  possible,  as  an  oiled  wheel  may 
revolve 


Ei«i3 


THE  VIRGINIA  REEL 


THE  VIRGINIA  REEL 

Down  through  the  centuries  has  come 
this  jolly  and  inspiring  dance  in  which  all 
are  expected  to  join,  young  and  old,  as  the 
finale  of  the  evening.  While  much  more 
popular  out  of  town  than  among  the  smart 
set  it  still  retains  its  prestige  in  England 
where  it  has  always  been  known  as  Sir 
Roger  de  Coverley,  and  when  danced  by 
officers  in  regimentals  their  swords  are  ex- 
tended to  form  an  arch  over  the  lovely  heads. 

This  dance  especially  appeals  to  many 
of  the  older  guests  and  in  the  early  part 
of  the  last  century  it  was  the  honor  and 
pride  of  the  galants  of  those  days  to  execute 
fancy  and  novel  steps  in  the  figures  which 
precede  the  reel.  However,  today  in  spite 
^  its  rollicking  tunes  the  figures  are  more 
C185] 


DANCING  MADE  EASY 


sedately  carried  out  although  with  plenty 
of  vim  and  good  cheer. 

Where  one  wishes  to  have  a  quaint  dance 
without  the  elaboration  of  the  minuet  which 
requires  grace  and  skill  the  Virginia  Reel 
will  prove  a  charming  means  of  showing 
off  the  colonial  or  middle  of  the  last  century 
costumes  and  its  cheery  music  serves  to  en- 
liven the  audience. 

The  gentlemen  select  partners  and  escort 
the  ladies  to  the  right  side  of  the  room, 
usually  at  the  left  hand  of  the  musicians 
facing  the  ladies.  Thus  when  the  couples 
turn  to  face  the  head  of  the  room,  where 
the  music  is  usually  placed,  the  ladies  are 
at  the  right  of  the  gentlemen.  When  guests 
of  honor  are  present  and  placed  at  the  oppo- 
site end  of  the  room  from  the  music,  it  be- 
comes by  their  presence  the  head  of  the 
room  during  the  dance. 

Six  couples  may  dance  the  reel  but  eight 
[186] 


DANCING  MADE  EASY 


is  a  prettier  number  and  while  the  number 
of  couples  participating  may  be  unlimited, 
tf  more  than  twelve,  it  is  wiser  to  divide 
them  into  two  sections,  both  dancing  at 
the  same  time.  With  too  many  couples 
in  a  set  the  dancers  between  the  ends  remain 
too  long  inactive  and  the  dance  becomes 
wearisome  and  looses  its  charming  gaiety. 
Sometimes  when  the  number  of  couples 
is  eight  or  ten  and  hardly  large  enough 
to  divide  into  two  sections,  the  form  of  the 
contra  dance  before  the  reel  is  changed  and 
instead  of  only  the  couples  at  the  end  dancing, 
all  dance  the  figure  at  the  same  time  with 
their  partners.  This  is  often  used  with 
success  at  children's  parties  where  the  young- 
sters may  become  restless  if  not  constantly 
taking  part. 

[•  The  couple  at  the  head  of  the  room  lead 

the   dancing   until   the   various   movements 

of  the  reel  place  them  at  the  opposite  end 

C187] 


DANCING  MADE  EASY 


and  the  second  couple  becomes  the  leaders. 
The  gentleman  of  the  leading  couple  always 
opens  each  figure  with  the  lady  of  the  couple 
at  the  opposite  end  of  the  line,  and  the  leading 
lady  repeats  the  figure  with  the  gentleman 
from  the  opposite  end  of  the  line.  This 
continues  through  the  6  figures  to  the  second 
part  called  The  Reel. 

I 

Fig.  I.  Leader  advances  until  he  meets  the 
lady  from  the  opposite  end  of  the  line, 
both  bow  and  walk  backward  to  their 
places.  His  partner  and  hers  repeat  this 
figure. 

Fig.  2.  Forward  and  turn  with  right  hands 
and  return  to  places,  other  pair  repeating. 

Fig.  3.  Forward  and  turn  with  left  hands 
and  return  to  places,  other  pair  repeating. 

Fig.  4.  Forward  and  turn  with  both  hands, 
returning  to  places,  other  pair  repeating. 
C188] 


DANCING  MADE  EASY 


Fig.  5.  This  time  the  leader  and  opposite 
lady  advance  sufficiently  beyond  the  turn- 
ing point  so  that  they  pass  each  other  back 
to  back,  approaching  from  the  right  side, 
returning  to  places  and  other  pair  repeating. 
Fig,  6.  Again  the  leader  and  lady  advance 
as    before    but    approach    from    the    left 
side,  passing  back  of  each  other  and  re- 
turn   to    places,    other    pair    repeating. 
Music  for  this  part  is  in  1-2  count  to  a 
measure  and  usually  4  measures  are  suffi- 
cient for  the  four  first  figures  and  8  measures 
for  the  last  two.    However  if  many  couples 
are    standing    in    the    lines    more    measures 
will  be  required  or  the  dancers  must  move 
very  quickly  which  may  cause  this  charming 
dance  to  become  a  romping  afi'air. 

2.  The  Reel 

The  leading  couple  advances  to  the  center 
and  the  gentleman  bends  his  right  arm  to 
C189] 


DANCING  MADE  EASY 


form  an  angle  through  which  the  lady  places 
her  arm  bent  at  a  similar  angle  and  thus 
"link  arms."  They  make  a  turn  and  a 
half  around  which  brings  the  gentleman 
facing  the  line  of  ladies  and  his  partner 
facing  the  gentlemen.  Then  they  separate 
and  linking  arms  with  dancer  in  front  of 
them,  turn  around  and  meet  in  the  center. 
Again  linking  arms  and  turning  half  around, 
they  link  arms  with  the  next  dancer  in  line 
and  so  continue  until  all  the  dancers  on  the 
side  lines  have  been  turned.  This  results 
in  the  leading  couple  being  at  the  foot,  so 
holding  both  hands  they  slide  or  "chasse" 
to  their  place  at  the  head. 

In  turning  partners  use  the  right  arms, 
and  the  left  for  the  succeeding  couples. 
If  preferred  the  arms  need  not  be  linked 
but  only  the  hand  given  when  turning, 
but  the  form  of  "linking  the  arms"  belongs 
more  truly  to  the  quaint  old  dance. 
[1903 


DANCING  MADE  EASY 


3 

The  leaders  are  now  again  at  the  head 
of  the  line  and  all  turn  to  face  forward. 
The  leaders  turning,  lead  down  the  outside 
of  their  respective  lines  followed  by  the 
other  dancers  and  all  clapping  hands  as 
they  march. 

When  the  place  is  reached  where  the  end 
couple  stood,  the  leaders  join  hands  and  form 
an  arch  through  which  the  other  couples 
pass,  separating  and  falling  into  line  one 
after  the  other  until  the  former  end  couple 
are  now  at  the  head  of  the  room  and  so 
become  leaders.  The  dance  recommences 
between  the  end  couples  and  is  repeated 
through  the  reel  until  all  the  couples  have 
once   been    leaders. 

A  very  pretty  English  form  varies  a  little 
in  that  after  the  leaders  meet  at  the  end 
of  the  set  they  all  chasse  to  original  places. 
[191] 


DANCING  MADE  EASY 


Then  all  the  other  couples  separating  with 
raised  hands  form  an  archway  through  which 
the  leaders  pass  to  the  end  when  all  sepa- 
rating return  to  the  sides  and  the  dance 
recommences. 


C1923 


THE  COTILLION 


THE  COTILLION 

The  cotillion  danced  by  all  the  guests 
with  its  variety  of  music  and  its  brilliant 
whirl  of  color  is  returning  to  us  with  the 
revival  of  so  many  charming  things  of  other 
days.  This  form  of  dancing  was  once  so 
popular  that  the  earlier  dances  of  the  evening 
were  only  a  preliminary  pleasure. 

More  planning  is  required  than  for  the 
usual  dance  but  the  true  hostess  enjoys 
an  opportunity  to  offer  something  intensely 
interesting  and  enjoyable  to  her  guests  which 
may  also  bring  the  added  charm  of  a  surprise. 

The  invitations  are  issued  with  the  idea 
that  an  equal  number  of  gentlemen  and 
ladies  will  be  present  since  the  cotillion  is 
danced  by  couples,  so  the  wise  hostess  in- 
vites a  few  extra  men  who  dance  "Stag" 
1^932 


DANCING  MADE  EASY 


if  there  are  sufficient  to  complete  the  number 
of  couples.  She  also  invites  a  young  man  of 
personality  and  tact  to  act  as  leader;  and 
the  young  lady  among  those  invited,  whom 
he  asks  to  lead  with  him,  is  also  considered 
honored  by  the  request. 

The  leader  consults  with  his  hostess  some 
time  before  the  date  of  the  cotillion  r^arding 
the  figures  to  be  selected  so  that  favors 
and  accessories  required  may  be  provided. 
It  makes  m  very  enjoyable  evening  when 
the  plan  is  for  many  favor  figures  with  some 
simple  ones  with  accessories  danced  by  one 
or  two  couples,  and  a  goodly  number  where 
six  or  more  couples  take  part. 

The  favors  may  be  very  inexjjensive,  and 
ribbon  and  crepe  paper  novelties  will  form 
many  of  the  most  attractive  ones.  Two 
sets  should  always  be  provided  for  each  favor 
figure,  one  for  the  gentlemen  and  one  for 
the  ladies.  These  are  usually  passed  in 
C196] 


DANCING  MADE  EASY 


baskets  or  trays  by  the  leader  to  the  ladies 
and  by  his  partner  to  the  gentlemen.  Favors 
which  may  be  worn,  such  as  pretty  paper 
hats  like  flowers,  paper  butterflies,  wands 
with  streamers,  floating  ribbons  and  scarfs 
present  the  prettiest  efi'ects.  It  is  however 
a  charming  thought  to  have  at  least  one  favor 
to  treasure  as  a  souvenir  such  as  small  trays 
for  ashes  or  pins,  a  little  box  or  dainty  bag, 
or  a  small  bronze  paper  weight.  Breakable 
articles  should  not  be  selected  as  the  broken 
particles  ruin  the  dancing  slippers  and  the 
floor,  not  only  for  dancing  but  for  future 
use. 

The  same  may  be  said  of  accessories  as 
of  favors,  that  colored  scarfs  and  waving 
ribbons,  gay  parasols  and  handkerchiefs  add 
to  the  interest  and  eff'ectiveness  of  the  figures. 
A  list  of  the  accessories  should  be  made 
and  checked  to  see  that  all  is  in  readiness 
in  a  place  provided  for  them  and  the  favors, 
[197] 


DANCING  MADE  EASY 


which  is  easily  accessible  to  the  leader  when 
the  dance  commences. 

The  gentlemen  may  ask  the  ladies  to  dance 
the  cotillion,  or  partners  may  be  selected 
by  drawing  numbers,  or  matching  colored 
bows  of  ribbon.  The  numbers  are  du- 
plicated and  a  single  series  placed  in  each 
basket  which  are  passed  to  the  ladies  and 
to  the  gentlemen.  Those  drawing  duplicate 
numbers  dance  together  and  as  the  chairs 
are  often  numbered  in  pairs,  the  same  num- 
ber shows  the  seats  of  the  partners.  When 
using  bows  of  colored  ribbon,  there  are 
twin  bows  of  every  color  and  shade,  and 
tint  but  no  more  than  two  alike  and  guests 
matching    bows    dance   together. 

The  guests  are  seated  around  the  sides 
of  the  room,  forming  a  circle  or  oval,  with 
the  lady  at  the  right  of  her  partner  and  the 
figures  are  danced  in  the  center  under  the 
direction  of  the  leader.  The  dancers  may 
C198] 


DANCING  MADE  EASY 


aid  the  leader  very  much  by  small  courte- 
sies, such  as  listening  attentively  when  he 
gives  directions,  watching  carefully  the  first 
set  danced  of  any  figure  and  returning  quickly 
to  their  seats  when  he  signals.  It  creates 
much  confusion  and  is  the  height  of  rude- 
ness to  dance  when  not  requested  even  if 
the  figure  seems  prolonged  and  one  wearies 
of  inactivity. 

The  music  plays  an  important  part  in 
the  cotillion  and  the  director  may  greatly 
aid  the  leader  by  his  quick  observation  of 
changes  in  time,  in  the  variation  of  music 
required,  and  attention  to  the  signals.i  It 
will  facilitate  things  if  certain  short  bars 
of  music  are  played  each  time  when  the  dan- 
cers are  to  return  to  places.  These  bars 
open  the  cotillion  and  the  leader  and  his 
partner  dance  about  the  room  before  ex- 
plaining the  figure.  This  opening  figure 
should  be  very  simple  until  all  have  entered 
[199] 


DANCING  MADE  EASY 


into  the  spirit  of  the  afifair  and  usually  a 
favor  figure  is  selected  for  the  opening. 
1^  The  leader  signals  to  the  music  to  cease 
while  he  explains  the  figure  and  then  signals 
for  it  to  continue.  He  then  designates  a 
number  of  couples,  six  or  more  for  a  favor 
figure  who  select  new  partners  by  presenting 
the  favor  to  them.  These  favors  may  be 
given  out  by  an  older  person  if  children 
are  dancing  or  by  a  patroness  if  a  sub- 
scription affair,  or  by  the  leader  and  his 
partner.  When  the  leader  signals  all  the 
dancers  return  to  their  places,  the  gentlemen 
escorting  the  ladies  to  their  seats  and  re- 
turning to  their  partner.  The  leader  con- 
tinues to  select  other  couples  from  the  circle 
until  all  have  participated  in  the  figure, 
when  he  signals  for  silence  and  explains 
the  figure.  The  couples  who  open  the  new 
figures  are  selected  from  first  one  end  of  the 
circle  and  then  the  other  and  if  many  couples 
(]2oo3 


DANCING  MADE  EASY 


are  present,  sometimes  those  in  the  center 
are  asked  to  commence  the  set. 

With  a  small  circle  one  selects  more  figures 
m  which  two  or  three  play  a  part  than  when 
a  large  number  of  guests  are  present,  and 
it  is  a  clever  idea  at  the  end  of  these  single 
figures  to  have  all  dance  with  partners  for  a 
few  rounds.  If  one  wishes  to  use  figures  of 
one  or  two  couples,  such  as  the  Parasol  or 
the  Mirror,  when  many  are  present  the 
leader  may  ask  his  partner  to  commence 
another  set  from  the  other  end  of  the  circle. 

The  success  of  a  cotillion  depends  much 
on  the  planning  of  figures  with  r^ard  to 
space  for  dancing  and  the  number  of  expected 
guests. 


fCaoi'l 


COTILLION  nCURES 


COTILLION  FIGURES 

I.   Favor  Figure 

For  an  op>ening  figure  this  is  most  suc- 
cessful when  danced  to  the  one  step,  since 
this  dance  is  known  to  all.  The  leader  and 
his  partner  each  take  a  favor  and  dance 
around  the  room  together.  Then  separating 
they  seek  each  new  partners  to  whom  they 
give  the  favor  and  dance  once  around  again. 
Then  the  new  partners  seek  other  partners 
with  the  same  favor  and  so  this  continues 
quickly  until  all  have  enjoyed  a  whirl  around 
within,  the  circle. 

2.  The  Cheat 

I  couple  dancing.        Accessory. 
The  lady   of  couple   leading  selects   four 
other  ladies  who  form  a  line,  standing  side 
[205] 


DANCING  MADE  EASY 


by  side.  Her  partner  selects  five  other  men 
and  joining  hands,  first  pass  in  front  of  the 
ladies  and  then  around  back  of  them,  form- 
ing a  second  line  but  facing  away  from  the 
ladies  so  that  the  two  lines  are  standing 
back  to  back.  At  a  signal  from  the  leader 
they  turn  quickly  to  face  each  other  and 
dance  with  the  opposite.  As  there  is  an 
extra  man  someone  will  be  disappointed  in 
securing  a  partner. 


3.  The  Parasol 
I  couple  dancing.        Accessory 

The  couple  selected  dance  around  the 
room  and  the  lady  is  seated  in  the  center 
and  given  a  parasol,  preferably  one  of  the 
gay  Chinese  paper  ones.  This  she  opens  and 
twirls  around  gracefully  over  her  head  as 
she  awaits  her  partner  who  brings  two  gentle- 
men to  her.  If  she  refuses  the  two  selected, 
[206] 


DANCING  MADE  EASY 


her  partner  seeks  another  pair  and  when, 
one  meets  with  her  approval,  she  rises  to 
dance  with  him  and  gives  the  parasol  to 
the  other  man  who  follows  the  dancing 
couple,  endeavoring  to  hold  the  parasol  over 
their  heads.  At  a  signal  all  return  to  seats 
and  a  new  couple  is  selected. 

4.  The  Fan 

This  figure  is  danced  the  same  as  The 
Parasol  except  that  the  discarded  man  fans 
the  couple  as  he  dances  after  them. 

5.  The  Mirror 
I  couple  dancing.        Accessories 

The  lady  seated  in  the  center  of  the  room 
by  her  partner  is  given  a  hand  mirror  and 
a  large  silk  handkerchief.  Her  partner  brings 
up  several  men  who,  one  by  one,  stand  so 
their  faces  are  reflected  in  the  mirror.  She 
[2073 


DANCING  MADE  EASY 


passes  the  handkerchief  over  the  mirror  and 
the  rejected  man  takes  his  place  back  of  her 
chair  until  she  finds  one  who  pleases,  when 
rising,  she  lays  the  mirror  on  the  chair  for 
the  next  lady  and  dances  with  her  selection. 
The  rejected  men  find  partners  and  all  dance 
until  signaled. 


6.  The  Baby  Doll 
I  couple  leading,  3  dancing.    Accessories 

The  gentleman  is  given  a  large  doll  and 
leading  his  partner  to  the  center  of  the  circle, 
presents  the  doll  to  her.  He  selects  three  men 
who  stand  facing  her.  The  lady  and  men 
advance,  retreat,  and  advance,  whereupon 
the  lady  gives  the  doll  to  one  man  and  chooses 
another  for  the  dance.  The  third  man  and 
her  partners  seek  other  ladies  and  all  dance. 
The  one  receiving  the  baby-doll  must  also 
dance  with  the  doll  in  his  arms. 
[208] 


DANCING  MADE  EASY 


7.  The  Candle  or  Will  o*  the  Wisp 
I  couple  dancing.        Accessory 

The  leader  designates  a  couple  and  the 
gentleman  leads  the  lady  to  the  center  of 
the  room  and  gives  her  a  lighted  candle  in 
a  candlestick  which  he  receives  from  the 
leader.  He  then  brings  up  three  or  more 
men  who  attempt  to  blow  out  the  light. 
The  lady  holds  the  candle  out  of  reach  of 
aJI  except  the  one  she  wishes  to  dance  with. 
Her  partner  and  the  discarded  dancers  return 
to  their  seats. 

8.  Rounds  of  Threes 
I  couple  leading,  3  dancing 

The  designated  couple  dance  around  the 
room  and  the  man  selects  two  ladies  and  the 
lady  two  men,  and  form  two  circles  of  three 
each.  At  a  signal  the  man  passes  under  the 
raised" arms  of  his  two  ladies  and  advances  to 

[209] 


DANCING  MADE  EASY 


his  partner  who  goes  to  meet  him,  leaving  the 
other  two  men  and  ladies  to  dance  together. 

9.  The  Four  in  Hand 
I  couple  leading,  5  dancing.  Accessories 
The  leader  selects  one  couple,  giving  a 
harness  to  each.  These  harnesses  are  made 
of  ribbon  with  extra  bands  separating  into 
four  sections  so  that  four  dancers  may  be 
driven  abreast.  Much  amusement  is  caused 
by  the  tinkling  of  the  tiny  bells  sewed  across 
the  front  of  the  harness.  The  lady  selects 
four  ladies  and  her  partner  four  men  whom 
they  drive  about  the  room  with  much  cracking 
of  whips.  When  the  teams  reach  the  opposite 
ends  of  the  room  they  break  away  and  rush 
toward   each   other   and   all   dance. 

10.  The  Serpentine 
I  couple  leading,  others  dancing 

The  lady  selects  four  or  more  ladies  while 
her  partner  selects  one  man  more  than  the 
[210] 


DANCING  MADE  EASY 


number  of  ladies  to  be  chosen.  The  ladies 
stand  in  line,  facing  the  head  of  the  room 
and  about  three  feet  apart.  The  men  join 
hands  with  the  leading  man  at  the  head 
who  guides  them  in  a  serpentine  line  in 
and  out  between  the  ladies.  At  a  signal 
each  man  strives  to  obtain  a  partner  but  the 
extra  man  failing  to  do  so  returns  to  his  place. 

II.  The  Flying  Scarfs 
2   couples  leading,   4  dancing.      Accessories 

Two   couples   select   partners   and   gather 

m  the  center  of  the  room,  where  the  leader 

gives  them  two  colored  scarfs  tied  together 

in  the  center.     Each  of  the  four  gentlemen 

take  an  end  of  the  scarfs  in  his  left  hand 

holding  it  high  above  his  head.    The  couples 

then  waltz  being  careful  to  preserve  an  equal 

distance    between    them.      At    a    signal    all 

stop  and  the  leader  taking  the  scarfs  they 

all  dance  to  places. 

[211] 


DANCING  MADE  EASY 


/^ 

< 

!               '^\ 

t 

>■ 

_^>^ 

^3 

fe^ 

' 

4.  The  Mouse  Trap 

Sliowifag  the  position  of  the  ladies  holding  scarfs  aad 
the  men  in  a  line  holding  hands,  striviHg  to  pass  be- 
neath the  scarfs  without  being  trap^jed. 


12.  The  Mouse  Tsup 
2  couples  leading,   4  dancing.      Accessories 

Four  colored  scarfs  about  three  yards 
long  are  provided  and  two  couples  selected 
who  in  turn  choose  new  partners.  Each 
lady  takes  the  end  of  a  scarf  in  each  hand 
and  stands  opposite  each  other  90  as  to 
form  the  corners  of  a  square,  crossing  the 
[212] 


DANCING  MADE  EASY 


scurfs  in  the  center.  There  is  a  space  be- 
tween the  four  scarfs  in  the  center  which 
forms  the  trap.  The  gentlemen  join  hands 
to  form  a  line  and  endeavor  to  pass  under 
the  scarfs  without  being  caught,  while  the 
ladies  try  to  trap  therp  between  the  scarfs. 
When  one  gentleman  is  caught  the  figure 
ends  and  all  dance.     See  diagram  No.  4. 

13.  The  Windmill 
2  couples  leading,  4  dancing 

Two  couples  seek  other  partners  and  form 
a  windmill  in  the  center  of  the  room.  The 
men  give  right  hands  to  new  partners  and 
cross  hands  with  each  other  in  the  center. 
After  all  pass  around  once  to  the  right, 
each  lady  advances  to  the  gentleman  in 
front  who  offers  her  his  right  hand  and  all 
promenade  around  again.  This  continues  until 
the  lady  reaches  the  point  of  starting  when 
she  dances  with  the  new  partner  to  her  seat. 


DANCING  MADE  EASY 


14.  The  Butterflies 

3  couples  leading,  others  dancing.  Accessories 

Three  couples  selected  seek  new  partners. 
Each  of  the  ladies  receives  a  large  butterfly 
of  paper  or  gauze  mounted  on  a  long  piece 
of  wire,  about  three  feet  in  length.  The 
gentlemen  receive  short  hand  nets  such  as 
are  used  to  catch  insects  and  endeavor  to 
catch  one  of  the  butterflies  for  a  partner. 
When  successful  they  dance  together  until 
signaled  for  the  end  of  the  figure.  If  all  the 
men  have  not  caught  butterflies  when  the 
signal  is  given  they  dance  with  the  butter- 
flies remaining  uncaught. 

15.  The  Arbor 
3  couples  leading,  6  dancing 

The  three  couples  selected,  sepaxaXe  and 
seek  new  partners  and  join  hands  to  form 
two  circles  of  three  couples  each.    The  inner 
[214] 


DANCING  MADE  EASY 


$,  The  Arbor 

Showing  position  of  gentlemen  holding  hands  and 
ladies  dancing  in  a  circle  around  them  under  their 
raised  arms.  The  gentlemen  in  the  circle  face  out- 
ward while  the  others  face  inward. 

circle  faces  outward  and  both  circles  revolve 
in  opposite  directions  and  stop  when  signaled 
with  a  lady  and  gentleman  opposite.  The 
men  now  join  hands,  holding  them  high  while 
the  ladies  joining  hands  hold  them  lower 
and  pass  under  the  arms  of  the  men.  The 
ladies  circle  through  the  space  between  the 
rows  of  men.  At  a  signal  the  men  lower 
their  arms  and  then  dance  with  the  ladies 
just  secured.  See  diagram  No.  5. 
1:215] 


DANCING  MADE  EASY 


(  o 

O     O   "] 

(   o  o  o 


6.  The  Pyramids 

Showing  p>osition  of  the  ladies  forming  the  pyramid 
with  dotted  lines  indicating  the  line  of  gentlemen 
dancing  around  them  until  stopping  in  front  of  the 
ladies  with  whom  they  dance. 

1 6.  The  Pyramids 
3  couples  leading,  6  dancing 

Three  couples  select  new  partners.  The 
six  ladies  take  places  to  form  a  pyramid  with 
one  lady  for  the  point,  two  ladies  stand  three 
feet  back  of  her  and  three  ladies  stand  the 
same  number  of  feet  back  of  the  two  ladies. 
The  men  join  hands  forming  a  line  which 

[216] 


DANCING  MADE  EASY 


first  circles  around  the  ladies  and  then  com- 
mence to  file  past  them,  beginning  with 
the  last  three  ladies,  and  continuing  until 
the  leader  of  the  fine  is  in  front  of  the  single 
lady  when  all  dance  with  those  opposite. 
See  diagram  No.  6. 

17.   The  Zigzags 
3  couples  leading,  6  dancing 

The  three  selected  couples  seek  other  part- 
ners and  the  first  couple  waltz  to  the  head 
of  the  room,  the  other  couples  following 
but  stopping  three  feet  apart.  The  head 
couple  waltz  in  a  zigzag  course  in  and  out 
between  the  other  couples  and  stop  three 
feet  below  the  last  couple.  As  soon  as  the 
leaders  have  danced  past  two  couples,  the 
second  couple  commences  to  waltz  in  and 
out  and  as  they  pass  the  second  couple 
the  third  couple  in  the  line  commences 
to  follow  after.  This  is  continued  until  the 
[217] 


DANCING  MADE  EASY 


leaders  are  the  head  of  the  line  when  all 
waltz  to  their  seats.  The  size  of  the  dancing 
space  controls  somewhat  the  number  of 
couples  selected. 

1 8.  The  Star  and  the  Circle 
4  couples  leading,  others  dancing 

Four  couples  waltz  around.  Then  each 
couple  selects  a  new  partner  and  form  two 
lines  of  four  couples  which  face  each  other. 
The  four  ladies  of  the  two  couples  in  the 
middle  of  each  line  cross  hands,  thus  forming 
a  windmill  and  swing  around  completing 
a  circle  to  the  right  and  then,  changing  hands, 
swing  around  to  the  left.  The  eight  men 
now  join  hands  forming  a  circle  around  the 
four  ladies  who  continue  to  hold  crossed 
hands.  The  other  four  ladies  now  advance 
and  each  gives  her  left  hand  to  the  right  one 
of  the  ladies  forming  the  windmill  or  star. 
This  forms  a  star  with  a  circle  of  gentlemen 

[218] 


DANCING  MADE  EASY 


7.  The  Star  and  Circle 

Showing  position  of  ladies  forming  a  four-comered 
star  with  a  circle  of  men  dancing  around  them. 

who  swing  around  to  the  right  beneath  an 
arch  of  the  uplifted  hands  of  the  ladies. 
At  the  signal  they  stop  and  dance  with  the 
lady  opposite.     See  diagram   No.   7. 

19.  The  Trap 
4  couples  dancing 

The    leader    selects    four    men    and    four 
ladies.     They  form  two  lines  back  to  back. 
At  the  signal  they  turn  to  find  partners  in 
C219] 


DANCING  MADE  EASY 


ttose  back  of  them  but  the  leader  seizes 
this  opportunity  to  obtain  a  partner,  so  one 
of  the  men  is  apt  to  be  without  a  lady  and 
returns  to  his  seat.  The  leader  after  the 
first  set  may  select  another  man  to  carry 
out  the  same  figure  for  him. 

20.  The  Ninepins 
6  couples  leading,  3  extra  men.    AccesBorks 

The  leader  selects  six  couples  and  four 
extra  men.  The  ladies  form  in  a  line  opposite 
to  the  line  formed  by  the  men,  with  about 
ten  feet  space  between.  The  ladies  are 
provided  with  large  rubber  balls  which  they 
bowl  at  the  gentlemen  ninepins,  directing  the 
ball  toward  the  dancer  they  prefer.  As 
there  are  more  men  than  ladies  they  seek 
to  catch  the  ball  and  dance  with  the  thrower. 
The  men  without  partners  invite  more  couples 
and  also  three  extra  ladies  who  form  in  lines 
as  before  but  this  time  the  men  roll  the  balk. 
[220] 


DANCING  MADE  EASY 


Since  there  is  an  even  number  this  time 
the  figure  ends  and  the  leader  commences 
a  new  one  if  desired.  However  if  one  wishes 
to  continue  the  figure  the  three  remaining 
men  select  six  extra  ladies  besides  the  couples 
chosen  instead  of  only  three,  and  after  the 
figure  is  finished  there  remain  three  extra 
ladies  without  p>artners,  so  they  select  new 
couples  and  extra  men   for  a  new  set. 

21.  The  Pursuit 
6  couples  and  4  extra  men  dancing 

Six  couples  are  selected  and  four  extra  men 
and  music  with  a  quick  and  lively  air  should 
be  played.  It  is  the  privilege  of  any  part- 
nerless  man  to  tap  on  the  arm  any  man 
dancing,  who  at  once  releases  his  part- 
ner to  the  newcomer  and  seeks  another  in 
the  same  manner.  This  is  similar  to  the 
Memphis  Tapping  described  on  page  140 
and  continues  until  stopped  by  the  leader's 
C2213 


DANCING  MADE  EASY 


signal  or  until  each  man  has  secured  his 
original  partner. 

22.  The  Grab  Bag 
6  couples  leading,  others  dancing.    Accessory 

A  fancy  bag  is  provided  with  cards  bearing 
the  names  of  the  ladies  dancing.  The  leader 
calls  six  or  more  couples  to  the  center  of 
the  room,  where  they  separate,  the  ladies 
to  find  new  partners  and  the  men  to  draw 
cards  from  the  bag,  when  they  seek  the 
owner  of  the  name  as  a  partner.  If  any  lady's 
name  is  drawn  and  she  is  already  dancing 
the  gentleman  returns  to  his  seat.  This 
figure  continues  until  all  the  men  have 
drawn  names  from  the  bag. 

23.  The  Scissors 
6  couples  dancing 

Six  couples  are  selected  and  after  dancing 
once  around  the  room,  the  ladies  form  in  a 
C  222  3 


DANCING  MADE  EASY 


line  with  three  facing  one  way  and  three 
the  other  and  join  hands.  The  men  form 
a  similar  line  and  cross  hands  in  the  center 
so  that  three  gentlemen  face  three  ladies  on 
either  side  of  the  center  and  there  are  also 
two  lines  of  ladies  and  gentlemen  facing 
each  other.  All  forward  and  back  and  for- 
ward and  dance  with  the  one  opposite.  Care 
should  be  taken  to  keep  the  lines  straight 
that  the  effect  of  opening  and  closing  a  pair 
of  scissors  may  be  marked. 

24.  The  Forfeits 
Danced  by  numerous  couples 

The  leader  passes  around  a  tray  or  basket, 
receiving  from  each  lady  some  small  article 
such  as  a  ring,  a  brooch,  a  dainty  handker- 
chief or  fan.  The  receptacle  is  then  held  by 
the  leader's  partner  in  the  center  of  the  room 
while  the  gentlemen  seek  for  a  forfeit  and 
hunt  for  the  lady  who  contributed  it,  dancing 
C223] 


DANCING  MADE  EASY 


with  her  when  the  signal  is  given  to  stop.    All 
may  be  called  to  dance  this. 

25.  The  Basket 

All  dance 

Any  number  of  couples  or  all  the  dancers 
may  take  part  in  this  figure.  All  waltz 
until  signaled,  when  the  ladies  form  a  circle 
in  the  center  of  the  room,  joining  hands  and 
facing  inward  and  circling  to  the  left.  The 
men  form  a  similar  circle  around  them  but 
moving  to  the  right.  At  the  signal  they  pause 
and  the  men  still  holding  hands  pass  under 
the  raised  arms  of  the  ladies.  When  the  men 
have  passed  through,  the  ladies  lower  their 
arms,  making  a  basket.  All  circle  to  the  right 
and  then  again  to  the  left  and  at  the  signal 
each  man  dances  with  the  lady  on  his  right. 

26.  The  Cat  and  the  Mouse 
All  dancing 
All  dance  until  the  leader  signals  and  all 
[224] 


DANCING  MADE  EASY 


the  ladies  except  one  form  in  two  semi- 
circles at  either  end  of  the  room,  closing  in 
to  about  five  feet  back  of  the  circle  of  men. 
The  men  are  asked  to  form  a  circle  around 
the  lady  with  the  exception  of  one  who  is 
asked  to  wait  outside.  It  is  his  pleasant 
duty  to  catch  the  pretty  mouse  inside  by 
passing  under  the  arms  of  the  men  who  do 
everything  they  can  to  prevent  his  success 
but  allow  the  lady  to  escape  at  will.  The 
lady,  however,  cannot  go  beyond  the  semi- 
circles. If  he  is  successful  the  lady  becomes 
his  partner  and  all  join  in  a  general  dance. 
If  unsuccessful  the  leader  signals  and  he 
takes  his  place  with  the  semi-circle  of  ladies 
and  another  pursuing  cat  is  appointed. 

27.  The  Promenade 
All  dancing 

One  couple  makes  a  promenade,  the  leader 
and  his  partner  may  act  as  the  leading  couple. 


DANCING  MADE  EASY 


and  half  way  around  the  circle  they  select 
another  couple  who  follow  them.  After 
another  half  round  they  choose  a  third 
couple  and  suddenly  turning  around  go  in 
the  opposite  direction  to  seek  a  fourth  couple. 
They  continue  this  selection  of  couples  until 
all  are  promenading.  A  clever  leader  may 
add  much  to  the  figure  by  sudden  turns, 
or  march  directly  across  the  room  so  that 
all  are  on  the  alert  for  the  next  choice.  A 
huge  circle  is  formed  and  the  grand  chain 
is  commenced.  Half  way  round  the  signal 
is  given  and  all  dance  with  those  opposite. 

28.  The  Finale 
All  dancing 

All  form  a  circle  of  couples  with  the  leader 
and  his  partner  in  the  center.  They  waltz 
around  once  to  the  right  while  the  circle 
dances  around  to  the  left.  At  a  signal  all 
pause  and  the  lady  leaves  the  ring  while 
[226] 


DANCING  MADE  EASY 


the  leader  selects  a  new  partner,  this  time 
waltzing  to  the  left  and  the  circle  moving 
to  the  right.  Once  around  the  leader  signals, 
all  pause  and  he  leaves  the  ring.  The  lady 
selects  another  partner,  thus  continuing  un- 
til only  three  or  four  couples  are  left  who 
then  join  in  the  dancing.  This  is  an  excellent 
figure  to  use  at  the  end  of  the  evening.  If 
the  circle  is  very  large  and  the  selection 
prolonged,  the  leader  may  ask  another  couple 
to  join  them  so  that  when  he  and  the  other 
man  leave  there  are  two  ladies  remaining  to 
seek  new  partners. 


C"7  3 


AN  ENTERTAINING  EVENING 


AN  ENTERTAINING  EVENING 

Two  things  lend  most  charm  to  a  delight- 
ful evening,  and  one  is  the  thoughtful  prep- 
arations of  the  hostess  for  the  enjoyment  of 
her  guests,  and  the  other  is  their  courteous 
and  appreciative  participation  in  these 
pleasures. 

In  planning  a  joyous  evening  amusement 
should  be  provided  for  all  and  it  is  customary 
to  have  several  tables  arranged  in  one  of 
the  smaller  rooms  where  cards  or  games 
may   be  played   by   those   not  dancing. 

A  variety  of  dances  and  music  will  add 
much  to  the  gaiety  of  the  affair,  and  the 
hostess  may  consult  with  the  director  of  the 
orchestra,  as  the  generation  of  to-day  seem 
so  devoted  to  the  monotony  of  one  or  two 
favorites.  The  music  should  commence  play- 
[231] 


DANCING  MADE  EASY 


ing  at  the  hour  mentioned  in  the  invitation 
so  that  the  first  guest  may  be  welcomed, 
as  the  first  arrival  always  feels  a  trifle  forlorn. 

An  excellent  way  to  break  the  ice  of  con- 
ventional conversation  is  to  commence  with 
the  Paul  Jones.  The  changes  of  this  dance, 
in  which  all  take  part,  establishes  a  friendly 
atmosphere  at  once  and  whenever  the  affair 
appears  dull  the  Paul  Jones  may  again  be 
danced,  for  it  brings  in  many  figures  which 
break  up  into  the  round  dances  or  dances 
for  couples,  who  reunite  for  other  figures. 
The  Basket,  the  Arbor,  the  Scissors  and 
other  Cotillion  figures  are  introduced  with 
great  success  into  the  Paul  Jones,  but  a 
leader  is  required  to  direct  the  figures.  The 
Grand  Chain  alone  may  be  used  to  open 
the  evening's  pleasure  and  the  Paul  Jones 
reserved  until  later. 

Before  supper  the  Grand  March  may  be 
used,  the  host  and  hostess,  and  the  sons  and 
[232] 


DANCING  MADE  EASY 


daughters  of  the  house  making  it  a  point  that 
all  the  guests  have  partners  for  the  march 
and  for  the  supper.  More  often  the  supper 
is  announced  informally  and  the  guests  stroll 
out  in  couples  so  that  two  or  three  ladies  may 
go  together,  yet  even  with  this  arranged 
it  is  the  duty  of  those  entertaining  to  in- 
troduce partners  and  do  all  they  can  to  render 
the  guest  at  ease.  If  there  are  any  guests 
of  distinction  present  the  host  escorts  the 
lady  and  his  wife  is  escorted  by  the  man 
of  importance. 

The  Cotillion  is  usually  given  after  supp>er 
and  the  hour  for  supper  advanced  so  that 
there  are  only  a  few  dances  before  the  event 
of  the  evening.  It  will  be  new  to  many  and 
as  it  serves  to  keep  everyone  dancing  and 
prevents  the  forming  of  little  circles,  as 
distressing  to  the  hostess  as  to  the  isolated 
guests  it  will  be  welcomed  as  a  novelty  by 
many.  It  also  offers  a  most  delightful 
C233] 


DANCING  MADE  EASY 


spectacle  to  the  elderly  guests  who  do  not 
dance. 

At  the  end  of  the  evenmg  if  the  Cotillion 
is  not  danced  the  old  favorite  Virginia  Reel 
will  tempt  all  to  the  floor  and  make  a  jolly 
happy   ending   to  an   enjoyable  evening. 

Where  the  dance  is  most  informal  and  the 
music  is  supplied  by  the  Victrola,  "Going 
to  Jerusalem"  and  other  dancing  games 
may  be  introduced. 

The  cutting  in  on  dances  is  very  universal 
in  the  large  cities  and  offers  an  opportunity 
for  many  men  to  dance  with  a  very  popular 
girl  in  preference  to  one  man  absorbing 
so  much  of  her  time,  especially  since  so 
many  of  the  dances  are  encored  and  so 
there  are  fewer  in  the  evening.  This  cut- 
ting in  is  described  under  Memphis  Tapping 
on  page  140. 

At  any  dance  other  than  a  public  affair 
the  hostess  or  patronesses,  even  if  it  is  a  sub- 
[234] 


DANCING  MADE  EASY 


scription  dance,  should  be  near  the  entrance 
door  of  the  ball  room  and  should  be  ad- 
dressed on  entering.  If  a  large  afifair  it  is 
not  necessary  to  seek  the  hostess  at  the  end 
of  the  evening  to  express  appreciation  of 
the  pleasure  extended  but  at  a  small  dance 
one  should  say  a  few  words  about  the  pleasure 
received,  if  possible  adding  a  word  of  praise 
for  the  music,  floral  decorations  or  delicious 
supper. 

In  the  great  cities  it  is  customary  for  the 
mothers  of  debutante  daughters  to  give 
dinners  before  a  dance  so  that  the  young 
girls  may  be  provided  with  a  partner  for  the 
evening,  including  supper,  and  all  the  guests 
go  together  from  the  dinner  to  the  dance. 

When  a  young  man  escorts  a  young  lady 
to  a  dance,  he  sees  that  she  is  directed  to 
the  room  reserved  for  the  ladies  and  arranges 
to  meet  her  at  the  place  of  parting  or  some 
other  place  designated. 

C235] 


DANCING  MADE  EASY 


She  enters  the  ball  room  in  advance  of 
her  escort  and  speaks  first  to  the  hostess, 
unless  the  young  man  is  bringing  the  young 
lady  who  is  unknown  to  the  hostess,  in  which 
case  he  enters  after  her  but  speaks  first  to 
the  hostess  introducing  the  young  lady. 
This  is  only  apt  to  occur  in  the  case  of  sub- 
scription dances  or  where  the  young  lady 
is  from  out  of  town,  when  the  young  man 
will  have  already  written,  asking  permis- 
sion to  bring  the  young  lady. 

The  gentleman  always  dances  the  first 
one  with  the  lady  he  escorted  or  with  whom 
he  dined.  He  should  present  other  young 
men  to  her  as  partners  and  should  take  her 
out  to  supper.  He  always  asks  permission 
to  present  any  men  friends  to  the  lady  and, 
when  that  is  received,  he  introduces  him  by 
saying  "May  I  present  Mr.  Thomas  Hood?" 

In  asking  a  lady  to  dance  a  gentleman  says 
"May  I  have  the  pleasure  of  this  dance?" 
[236] 


DANCING  MADE  EASY 


but  does  not  make  the  mistake  of  asking 
if  she  **is  engaged  for  it."  If  already  en- 
gaged for  the  dance  the  lady  may  reply 
"I  am  sorry  but  I  am  engaged  for  this  dance"; 
and  may  convey  still  more  regret  by  her 
manner  and  voice,  but  she  may  not  suggest 
any  other  dance  until  he  asks  if  she  has 
any  dances  which  are  not  already  taken.  I£ 
she  refuses,  not  because  she  is  engaged 
but  because  she  does  not  wish  to  dance, 
she  r^rets  that  she  is  too  fatigued  or  gives 
some  other  excuse  and  is  not  at  liberty  to 
dance  this  one  with  any  other  man,  although 
she  may  walk  or  sit  out  the  dance  with 
someone  else. 

At  the  conclusion  of  a  dance  if  a  lady  is 
not  claimed  by  a  partner  for  the  next  dance, 
her  present  partner  may  escort  her  to  a 
chair  or  a  group  of  ladies  she  knows,  and 
thanking  her  for  the  pleasure  of  the  dance, 

bow  and  leave.     If  he  knows  that  she  is 
C237] 


DANCING  MADE  EASY 


not  engaged  for  the  following  dance  he  may 
ask  to  present  some  friends  and  introduce 
a  partner  to  her.  These  small  courtesies 
add  to  the  pleasure  of  the  evening  and  many 
a  young  man's  popularity  has  been  estab- 
lished with  a  prominent  hostess  because  of 
his  ability  to  make  things  run  smoothly,  which 
of  course  is  a  direct  aid  to  her. 

If  the  young  lady  is  to  have  a  chaperone 
other  than  a  member  of  her  family,  the 
escort  should  call  first  for  the  chaperone 
and  then  together  for  the  young  lady,  and 
at  the  end  of  the  evening  the  young  lady  is 
first  escorted  to  her  home  and  then  the 
chaperone  is  escorted  home.  Sometimes  the 
chaperone  is  invited  to  dine  with  the  young 
lady  and  thus  the  young  man  need  only  make 
one  call  for  them,  but  the  same  procedure 
as  mentioned  before  is  carried  out  in  re- 
turning home.  Many  parents  prefer  to  have 
their  daughters  go  to  and  from  dances  in 
C2383 


DANCING  MADE  EASY 


their  own  car,  which  they  may  send  for  the 
chaperone,  and  which  conveys  the  chaperone 
and  the  young  man  to  their  respective  homes 
at  the  end  of  the  evening. 


C2393 


THE  LATEST  WORD  ON  DANCING 


THE  LATEST  WORD  ON  DANCING 

The  transition  period,  through  which  we 
are  passing,  affects  our  lives  in  every  way  in 
manners,  fashions  and  mode  of  living,  and 
extends  to  dancing  so  that  new  dances  ap- 
pear and  disappear  with  amazing  rapidity. 

Of  the  new  dances  only  a  step  or  motion 
is  retained  and  then  so  modified  by  social 
usage  that  it  may  be  properly  danced  with 
pleasure  in  a  refined  manner.  These  new 
steps  are  incorporated  into  the  figures  of  the 
Fox  Trot  which  still  retains  its  great  popu- 
larity and  when  viewed  in  comparison  with 
its  original  form  will  show  such  variation  as 
to  appear  almost  as  a  new  dance. 

Second  only  to  the  Fox  Trot  is  the  Waltz 
which  also  shows  the  new  style  of  introduc- 
ing various  figures  into  the  standard  form  so 
[^433 


DANCING  MADE  EASY 


that  the  figures  of  the  Hesitation,  the  Lame 
Duck,  and  the  Boston  appear  preceded  and 
followed  by  the  usual  Waltz  step. 

The  time  of  the  music  has  greatly  changed 
and  is  so  much  slower  that  the  Two  Step  is 
being  eliminated  as  it  requires  more  lively 
music. 

From  all  points  of  the  compass  it  is  said 
th^at  now  every  man  dances  differently,  add- 
ing figures  or  steps  as  he  prefers  them  so  that 
more  than  ever  a  correct  position  which  per- 
mits one  to  change  easily  and  quickly,  a 
knowledge  of  the  individual  steps,  and  an  un- 
derstanding of  leading  and  the  readiness  to 
be  easily  led  are  of  the  utmost  importance. 
Therefore  the  keynote  of  the  present  day 
dancing  is  "form,"  however  much  it  may  be 
outraged  by  some  who  desire  to  be  eccentric. 

The  details  of  the  Toddle  step  are  ex- 
plained and  also  those  of  the  Camel  Walk 
with  a  diagram  of  direction,  since  this  dance 
[244] 


DANCING  MADE  EASY 


or  walk  is  so  beloved  by  the  college  lad  and 
the  flapper.  The  intelligent  dancer  will  rec- 
ognize the  Toddle  as  only  a  springy  step 
with  a  sideways  direction,  which  is  the  only 
change  from  the  Fox  Trot  step,  and  that  the 
Camel  Walk  is  only  the  walking  step  of  the 
Trot  with  a  zigzag  direction  and  a  dragging 
motion. 

The  difference  between  the  manner  of 
dancing  the  standard  Waltz,  the  Hesitation, 
the  Lame  Duck,  and  the  Boston  is  carefully 
explained. 

The  correct  position  of  the  dancers  is  de- 
scribed in  detail  and  attention  attracted  to 
the  balance  of  the  body  which  is  most  im- 
portant in  executing  easily  and  gracefully  the 
changes  in  the  dance. 

Practising  the  quick  changes  from  figure  to 
figure  and  the  turn  in  the  reverse  which  is 
again  in  favor  to  the  music  of  the  phono- 
graph at  home  will  enable  one  to  lead  or 
[245] 


DANCING  MADE   EASY 


follow  with  much  ease,  permitting  the  atten- 
tion to  be  given  to  the  "form"  of  dancing 
which  should  be  smooth  and  graceful  as  the 
flight  of  a  swallow.  This  smoothness  and 
symmetry  of  motion,  where  by  one  seems  a 
part  of  the  music,  is  an  art  which  can  be  at- 
tained by  practise,  so  that  one  motion  seems 
part  of  the  next  and  the  dancer  responds  to 
the  rhythm  of  the  music. 


C246] 


CORRECT   POSITION  AND   BALANCE 


CORRECT   POSITION   AND   BALANCE 

Never  was  the  elegance  of  correct  position 
in  dancing  more  important  than  today  when 
the  smooth  walking  type  of  the  dances  is 
varied  with  Toddle  steps  and  Waltz  dips. 
The  woman  who  is  incorrectly  held  cannot 
with  grace  or  facility  follow  the  leading  of 
her  partner  and  this  deficiency  in  the  instruc- 
tion of  the  art  of  dancing  is  more  pronounced 
since  there  is  no  striking  new  dance  to  ar- 
tract  the  eye. 

Nothing  makes  dancing  more  fatiguing  and 
difficult  than  absence  of  balance  and  an  awk- 
ward, vulgar  position.  No  man  can  lead 
efficiently  if  bending  too  far  back,  as  this 
throws  the  body  out  of  line,  and  no  woman 
can  move  gracefully  and  follow  the  changes 
[249I 


DANCING  MADE  EASY 


of  figures  who  has  not  unrestricted  freedom 
of  movement. 

The  right  hand  of  the  man  should  never 
pass  higher  than  the  waist  of  the  lady  and 
should  only  rest  there  lightly,  as  the  guiding 
is  done  through  the  right  arm  which  is 
slightly  raised  to  support  the  lady  and  pre- 
sent a  more  graceful  appearance.  His  left 
arm  should  be  raised  to  the  extent  of  de- 
scribing a  right  angle  from  the  body  with  the 
elbow  slightly  bent.  Leading  is  done  with 
either  hand;  in  turning  to  the  left,  the  left 
hand  guides  and  the  right  supports,  and  the 
right  hand  turns  are  indicated  by  the  right 
arm.  The  man  may  greatly  assist  his  part- 
ner by  slightly,  very  slightly,  turning  the 
body  and  arm  in  the  new  direction  desired. 

The  lady  places  her  left  hand  lightly  on 
the  back  of  the  man  so  that  he  may  have 
perfect  freedom  in  his  leading,  at  the  same 

time  giving  the  lady  the  correct  position. 
[250] 


DANCING  MADE  EASY 


Her  right  hand  she  places  lightly  in  the  hand 
of  her  partner  and  she  takes  her  position 
slightly  to  the  left  so  that  the  center  line  of 
her  body  is  opposite  the  right  side  of  her 
partner.  This  position  will  permit  a  straight 
forward  walking  step  with  her  left  foot  with- 
out contact  with  the  right  foot  of  her  part- 
ner. The  lady  should  never  rest  heavily  on 
the  arm  of  her  partner  nor  expect  him  to 
hold  up  her  right  hand,  but  retain  her  posi- 
tion as  if  dancing  alone  yet  co-operate  by 
quickly  following  the  slightest  hint  of  leading 
from  her  partner. 

Formerly  the  p>osition  of  the  foot  was 
rather  of  an  outward  angle  from  the  heel 
and  the  heels  brought  together  at  the  end 
of  each  step  but  now  the  direction  of  the 
foot  is  ahnost  straight  and  the  heels  never 
meet. 

If  too  much  appears  to  have  been  said  about 

the  elegance  of  position  and  form,  the  coming 
C2513 


DANCING  MADE  EASY 


season  will  reveal  the  truth  of  these  remarks 
and  one  who  takes  up  these  new  ideas  will 
be  quite  prepared  to  do  the  latest  and  smart- 
est thing  in  dancing. 

Balance,  which  is  so  vastly  important, 
means  placing  the  balance  of  weight  of 
the  body  on  the  foot  which  has  just  finished 
the  step.  This  immediately  frees  the  other 
foot  for  the  coming  step,  without  however 
moving  it.  If  you  tire  easily  from  dancing 
which  should  be  a  delightful  healthy  exercise 
or  cannot  make  quick  changes  of  direction, 
practise  at  home,  watching  carefully  to  see  if 
you  always  change  the  weight  to  the  foot 
just  finishing  the  step  before  commencing  a 
new  step.  This  change  of  weight  does  not 
indicate  hopping,  for  no  motion  should  be  vis- 
ible but  it  is  essential,  especially  in  any  glid- 
ing step,  to  retain  the  smooth,  flowing  appear- 
ance. The  weight  should  always  be  on  the 
ball  of  the  foot,  leaving  the  heels,  which 
C252] 


DANCING  MADE  EASY 


should  not  be  lifted  from  the  floor,  free  to 
execute  any  turn  or  pivot. 


^2531 


HGURES 


FIGURES 

By  the  use  of  the  word  "Figure"  in  con- 
nection with  the  dances  of  the  Fox  Trot  and 
the  Waltz  is  meant  that  each  figure  is  the 
series  of  steps  in  each  dance  —  such  as  the 
three  walking  steps  in  the  Fox  Trot  which 
constitute  a  figure  or  the  three  steps  of  Waltz 
which  again  forms  a  single  figure.  In  the 
Fox  Trot  and  the  standard  Waltz  each  series 
of  steps  constitutes  a  figure  and  each  figure 
is  danced  to  a  measure  of  music.  In  such 
steps  as  that  of  the  Toddle  it  will  be  seen  in 
the  description  of  that  dance  why  a  figure  of 
the  Toddle,  while  only  of  three  steps,  re- 
quires two  measures  of  music. 

Only  a  few  figures  introduced  into  each 
dance  are  better  than  too  many  which  would 
tend  to  destroy  the  smoothness  of  the  dance, 
[257] 


DANCING  MADE  EASY 


SO  that  the  introduction  of  only  seven  or 
eight  at  the  most  with  the  simple  steps  of 
the  original  dance  between  the  novelty  steps 
offers  a  most  attractive  arrangement. 


C258D 


THE  TODDLE 


THE  TODDLE 

The  Toddle,  so  popular,  is  gradually  tod- 
dling away,  but  as  its  figures  are  used  with 
the  Fox  Trot  today  a  detailed  explanation 
is  given.  Its  popularity  arose  because  it  is 
so  much  easier  to  be  springy  than  to  dance 
smoothly  and  while  still  much  in  vogue  out- 
side of  New  York  it  has  become  part  of  the 
variation  dances  in  the  smart  set. 

The  Toddle  is  the  Fox  Trot  with  a  rise  on 
each  foot  on  each  count  of  every  step  —  except 
in  the  figure  of  the  "Old  Corte"  and  "the 
doubles" — the  i,  2,  3  at  each  side. 

Fig.  I.  Take  one  walking  step  with  the 
right  foot,  draw  up  the  left  one  to  the  right, 
rise  gently  on  the  toes,  and  come  down  on 
heels.  Take  the  next  walking  step  with  the 
right  foot,  draw  up  left  foot,  rise  on  toes. 

lien 


DANCING  MADE  EASY 


down  on  heels.  Take  third  walking  step 
with  right  foot,  draw  up  left,  rise  on  toes  and 
down  on  heels.  All  walking  steps  in  the 
same  direction. 

Fig.  2.  Take  one  walking  step  with  the 
left  foot,  draw  up  right,  rise  on  toes,  down 
on  heels.  Second  walking  step  with  left  foot, 
draw  up  right  foot,  rise  on  toes  and  down  on 
heels.  Third  walking  step  with  left  foot, 
draw  up  right,  rise  on  toes,  down  on  heels. 

Figs.  3-4.    Reverse  walk. 

Figs.  4-5.  Man  leading  to  left  and  danc- 
ing Fox  Trot  step  i,  2,  3,  to  the  side.  Repeat- 
ing the  same  to  the  right. 

Figs.  ^-6.  Repeat  the  Toddle  walking 
steps  as  given  above,  counting  two  for  each 
step. 

In  Toddling  any  step  of  the  Fox  Trot  may- 
be toddled  if  the  time  of  two  counts  to  each 
step  is  allowed,  altho'  the  "Old  Corte"  and 

doubles    are    rarely    toddled.      The   Toddle 
C262] 


DANCING  MADE  EASY 


steps  may  also  be  used  in  turning  and  pivot- 
ing. 

For  a  brief  moment  the  Chicago  appeared, 
which  was  somewhat  similar  to  the  Toddle  in 
its  counting,  but  it  was  danced  with  the  mo- 
tion of  the  hips  instead  of  the  feet,  so  it  was 
quickly  relegated  to  the  limbo  of  forgotten 
things  and  is  only  mentioned  here  as  its  ini- 
tial appearance  was  heralded  by  the  press  as 
something  new. 


C263] 


Vv 


THE  CAMEL  WALK 


THE  CAMEL  WALK 

The  Camel  Walk,  so  loved  by  the  smart 
young  set  at  college  and  in  town  by  the  flajH 
per  who  now  rejoices  in  the  title  of  "Finale 
Hopper,"  is  simply  the  walking  time  of  the 
Fox  Trot  done  to  slow  music  and  in  a  zigzag 
direction,  and  is  a  walk  from  beginning  to 
end.  Occasionally  it  is  varied  with  Fox  Trot 
steps  by  those  who  dislike  anything  quite  so 
extreme. 

This  step  is  done  with  a  long  tension  on 
every  step,  as  if  a  heavy  weight  was  attached 
to  each  foot,  and  the  direction  is  diagonally 
back  and  forth  and  yet  advancing  at  the 
same  time.    See  Diagram  8. 

First  measure  of  music  —  One  walking  step    , 

forward  with  left  foot,  then  the  right  foot. 

Second  measure  —  The  left  foot  takes  a  long 
[267] 

/ 


DANCING  MADE  EASY 


\ 


^<\ 


\  f 

^^-S?^--'' 


8.  The  Camel  Walk 

dragging  step  to  the  right,  the  right  foot 
then  makes  a  half  circle  or  pivot  around  to 
the  left.  The  left  foot  then  makes  a  sweep- 
ing pivot  or  semi-circle  to  the  right  and  cir- 
cling around  to  the  left.  The  right  foot 
again  makes  the  sweeping  pivot  or  circle,  con- 
tinuing the  direction  to  the  left  and  coming 
around  in  the  half  pivot  or  semi-circle  to  the 
right.  Third  measure  —  One  walking  step 
with  the  left  foot  to  the  right,  second  walk- 
ing step  with  right  foot  toward  the  right,  third 
walking  step  with  left  foot  toward  the  right, 
fourth  walking  step  toward  the  right,  which 
[268] 


DANCING  MADE  EASY 


/* 


CCD. 


8.  The  Camel  Walk  {continued^ 

gives  a  diagonal  direction.  Fourth  measure 
—  Four  walking  steps  forward  commencing 
with  the  left  foot. 

Then  the  Fox  Trot  steps  may  be  intro- 
duced and  the  Camel  commence  to  stalk 
again  or  the  Camel  figures  just  given  may 
be  continued  in  a  reversed  direction.  Any 
combination  may  be  utilized  foIk)wing  the 
sweet  will  of  the  leader  as  long  as  it  is  slow 
and  dragging  in  the  Camel  steps. 


[269] 


VARIATION  WALTZ 


VARIATION  WALTZ 

TTie  standard  Waltz  following  the  mode  o!" 
the  day  becomes  more  old-fashioned  each  mo- 
ment and  brings  in  the  return  of  the  reverse 
which  is  much  in  evidence.  However,  the 
new  idea  of  combining  various  steps  appears 
in  the  Waltz  and  a  few  measures  of  the  stand- 
ard type  are  followed  by  two  figures  of  the 
Boston  which  changes  into  a  few  figures  of 
the  Hesitation  and  then  becomes  the  Lame 
Duck,  which  again  changes  to  the  standard 
step.  It  is  really  an  achievement  to  grace- 
fully melt  these  changing  steps  one  into  the 
other  and  is  really  most  interesting  to  dance, 
quite  as  much  so  as  a  series  of  intricate 
steps. 

The  following  detailed  explanation  of  the 
[273] 


DANCING  MADE  EASY 


difference  between  the  four  Waltz  steps  will 
be  valuable  for  home  practise  in  changes  of 
the  figures  and  the  facility  gained  will  enable 
one  to  lead  more  cleverly,  avoiding  passing 
couples  and  also  to  follow  with  greater  quick- 
ness the  leader's  changes. 

No  clever  and  skillful  dancer  has  ever  been 
a  wall  flower  or  lacked  many  invitations  to 
dances  I 


/  The  Standard  Waltz 
3  counts  to  3  beats  of  music 

1.  Measure.  Gentleman  steps  back  with 
left  foot  —  count  one.  Steps  backward  and 
to  the  right  side  with  right  foot  —  count  two. 
Left  foot  brought  over  right  foot  —  count 
three. 

2.  Measure.  Step  forward  with  right  foot 
—  count  one.    Bring  left  foot  forward  but  to 

[274] 


DANCING  MADE  EASY 


right  side  —  count  two.    Bring  right  foot  to 
left  foot  —  count  three. 

The  Boston 
3  counts  to  3  beats  of  music 

1.  Measure.  Gentleman  steps  backward 
with  left  foot  —  count  one.  Brings  the  right 
foot  with  a  circular  movement  at  the  side, 
back  to  back  of  the  left  foot  —  count  two. 
One-half  pivot  turn  to  the  right  on  the  ball 
of  the  left  foot,  which  will  also  bring  the 
right  foot  pointing  toward  the  right  side  — 
count  three. 

2.  Measure.  Step  forward  with  the  right 
foot  —  count  one.  Bring  the  left  foot  in  cir- 
cular movement  to  the  front  of  the  right  foot 
—  count  two.  One-half  pivot  on  the  right 
foot  to  the  right,  also  turning  the  left. 

Always  keep  the  left  foot  advanced  in 
making  left  hand  turns  and  the  right  one  for- 
ward for  right  turns. 

[275] 


DANCING  MADE  EASY 


The  Hesitation 
3  counts  to  3  beats  of  music 

1.  Measure.  Gentleman  steps  with  left 
foot  to  left  side,  leaving  the  right  foot 
pointed  to  the  right  side  —  count  one. 
Places  weight  on  left  foot,  continuing  to 
count  —  two,  three. 

2.  Measure.  Step  back  with  right  foot  — 
count  one.  Step  backward  and  to  left  with 
left  foot  —  count  two.  Bring  right  foot  ovec 
to  left  foot  —  count  three. 

These  two  measures  may  be  considered  as 
one  figure  of  the  Hesitation  Waltz. 

The  Lame  Duck 

This  much  resembles  some  of  the  steps  of 
the  Camel  Walk  but  in  a  modified  form.      ) 

Two  counts  or  steps  to  three  beats  of  music. 

I.  Measure.  Gentleman  steps  forward 
with  left  foot  —  count  one.  Takes  a  long 
[2763 


DANCING  MADE  EASY 


dragging  step  with  the  right  foot,  bringing  it 
slightly  in  advance  of  the  left  —  count  two, 
three. 

2.  Measure.  Turn  on  right  foot  to  the 
right  —  count  one.  Then  long  dragging  step 
around  right  foot  by  left  one  —  count  two, 
three. 

3.  Measure.  Turn  on  left  foot  to  the  left 
—  count  one.  Then  the  long  dragging  step 
with  left  foot  around  the  right  one  —  count 
two,  three. 

As  these  variations  of  the  Waltz  step  are 
only  slightly  progressive  the  necessity  for  in- 
troduction of  the  standard  Waltz  step  and  its 
reverse  will  soon  be  apparent. 


Ca773 


Txada  lUrk  B«ckUi«4 

^T^HERB  is  no  royal  road  to  leammg. 

IT  is  an  old  saying,  and  a  true  one,  in  a  sense:  • 
for  prince  and  peasant  must  alike  travel 
the  patli. 

"VTET,  there  are  many  paths,  and  great  differ- 
-i-  ences  among  them,  as  they  lead  to  Uie 
temple  of  knowledge.  In  some,  the  goiog  is  easy : 
in  some,  hard.  In  scMne,  the  journeying  is 
pleasant  and  prc^table:  in  some,  toilsome  —  a 
weary  scramble  over  many  stumbling  blocks. 

THE  builder  of  the  road  is  the  teacher.  It 
is  his  task  to  smooth  the  way,  and  to 
make  it  straight:  or  to  leave  it  all  cluttered, 
a  twisted,  haphazard  course,  that  nms  roughly 
and  reaches  nowhere. 

IN  the  "Made  Easy"  Series,  it  has  been  the 
publisher's  purpose  to  provide  for  the 
student  the  best  possible  road  to  learning  —  a 
road  truly  royal  in  its  simplicity,  its  worth: 
a  road  wide  and  direct,  and  free  from  foolish, 
needless  litter. 


THE  various  writers  of  the  books  in  the 
series  have  been  chosen  for  their  special 
fitness.  Such  fitness  includes,  in  the  first 
place,  mastery  of  the  particular  subject:  in 
the  second  place,  ability  to  interpret  knowl- 
edge to  others. 

RIGHT  teaching  makes  easy  learning.  Few 
subjects  are  really  hard  to  learn,  when 
properly  set  before  the  pupil.  These  volumes 
are  the  product  of  a  painstaking  care  to  simplify 
every  detail  of  instruction,  yet  to  make  it  com- 
plete. The  result  for  the  student  is,  indeed, 
a  learning  made  easy,  yet  none  the  less  exact, 
thorough,  wholly  adequate  for  his  needs. 

The  volumes  now  ready,  or  in  the  course  of 
preparation  —  are : 

Arithmetic  Made  Easy       Drawing  Made  Easy 
Spelling  Made  Easy  Dressmaking  Made  Eai^ 

Penmanship  Made  Easy    Dancing  Made  Easy 
Grammar  Made  Easy        Etiquette  Made  Eas^ 

Keeping  Young  Made  Easy 

Love  Letters  Made  Easy 

Shorthand  Made  Easy 

Bookkeeping  Made  Easy 

Entertaining  Made  Easy 

Tricks  and  Magic  Made  Easy 

Mental  Healing  Made  Easy 

Business  Letters  Made  Easy 

Social  Letters  Made  Easy 
Further  iUles  wUi  be  added  as  opportunity  presents  UselS  to  secure 
the  proper  type  of  manuscript. 


University  of  California 

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Return  this  material  to  the  library 

from  which  it  was  borrowed. 


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